NAEB Headquarters
1U Gregory Hall
Urbana, Illinois
Apr. 1^, 1956
IMPORTANT INFORMATION ON "PRIX ITALIA” ENTRIES FOR 1956
The Prix Italia is an organization originally established by the Radio Televisione
Italiana in 19li7» At the present time its membership consists of seventeen (17)
different countries. These are: Austria, France, Great Britain, Italy, Monaco,
the Netherlands, Portugal, Switzerland, Belgium, Germany, Luxemburg, Canada, Ireland,
Japan and the United States. The United States is represented by the National Asso¬
ciation of Educational Broadcasters.
The Prix Italia is interested in the encouragement and promotion of quality radio
programs in the areas of music, literature and drama, and documentary broadcasting.
In 1956 the United States is a member of the Literature and Drama Jury. No entries
in this area, therefore, may be made by the United States.
ENTRIES FOR MUSICAL AND DOCUMENTARY BROADCASTING
In 1956 the United States will enter two (2) musical programs and two (2) documentary
broadcasting programs. The basic requirements for both types are that they be a
minimum of twenty-five (25) minutes in length and may go as long as eighty-five (85)
minutes.
The musical composition must be "with words," and should make use of the "electro-
phonic medium." This, therefore, confines musical compositions to such things as
cantatas, operas, choral works or musical works employing narrators where the nar¬
ration is an integral part of the music itself. The composition should have been
completed within the past year and should likewise have been broadcast within the
past year for the first time.
Documentary broadcasts in the Prix Italia sense refer generally to actuality broad¬
casts. The closer the program conforms to the notion of reportage, the greater con¬
sideration is given to the entry.
The prizes that are awarded for the best entries are not inconsiderable and in the
past have approached the $7,000. mark. The exact figure is never known until the
actual date of the award because of changes in exchange rates, numbers of countries
entering, and other intangibles.
PROCEDURES
Member stations of the National Association of Educational Broadcasters are encour¬
aged to submit entries in the field of music and documentary broadcasting to NAEB*s
Chairman of International Relations, Seymour N. Siegel, at 2500: Municipal Building,
New York 7, N.Y., before M ay 15, 1956.
. 2 -
In the case of musical works, entries shall consist of:
1. Two (2 ) taped copies of the broadcast at l£ IPS or 7-1/2 IPS
2. Two (2) copies of the score
3* One (1) copy of the words or script of the broadcast
U* Biographical description of the composer and program notes concerning the back¬
ground of the music itself.
In the case of documentary broadcasts, the following should be submitted:
1. Two (2) copies of the taped broadcast at 7-1/2 IPS or 15 IPS
2. A copy of the script of the broadcast
3* Biographical material concerning the writer and procedure of the broadcast.
Should NAEB decide to enter any composition or documentary broadcast in the prix
Icalia, the composer and/or writer, and/or producer, will be required to sign
two (2) agreements:
(1) An agreement to reimburse NAEB the sum of $1900. from any prize money
which may be awarded.
(2) An agreement to permit rebroadcast of the prize-winning show by the
broadcasting organizations of constituent countries at a copyright fee
no greater than approximately $120. per broadcast. (The payment of a
copyright fee does not apply to broadcasts in the United States by mem¬
ber stations of the NAEB where permission must be given for broadcasts
without fee.)
The juries for 1956 will meet in Rimini, Italy during the first week of September.
The 1956 Jury for Music will be composed of representatives from Belgium, France,
Luxemburg and Monaco. The 1956 Jury for Documentaries will be composed of repre¬
sentatives from Austria, Canada, Great Britain and Switzerland,
Since there is a great deal of script translation, entry blanks, agreement details
and other chores to accomplish, it is requested that entries be forwarded at the
earliest practicable moment in the form above described. Further information, if
required, is available by correspondence or telephone.
IMPORTANT INFORMATION ON "PRIX ITALIA" ENTRIES FOR 1956
----' ^ l 9Ss
the 1 1 ,
The Prix Italia is an organization originally established by the
Radio Televisione Italiana in 194* 7 ’. At "the present time its membership
consists of seventeen (17) different countries. These are: Austria, France,
Great Britain, Italy Monaco, the Netherlands, Portugal, Switzerland,
Belgium, Germany, Luxemburg, Canada, Ireland, Japan and the United
States. The United States is represented by the National Association of
Educational Broadcasters.
The Prix Italia is interested in the encouragement and promotion
of quality radio programs in the areas of music, literature and drama, and
documentary broadcasting.
In 1956 the United States is a member of the Literature and Drama
Jury. No entries in this area, therefore, may be made by the United States.
ENTRIES FOR MUSICAL AND DOCUMENTARY BROADCASTING
In 1956 the United States will enter two (2) musical programs and
two (2) documentary broadcasting programs. The basic requirements for
both types are that they be a minimum of twenty-five (25) minutes in length
and may go as long as eighty-five (85) minutes.
The musical composition must be "with words", and should make
use of the "electrophonic medium". This, therefore, confines musical
compositions to such things as cantatas, operas, choral works or musical
works employing narrators where the narration is an integral part of the
music itself. The composition should have been completed within the past
- 2 -
year and should likewise have been broadcast within the past year for the first
time.
Documentary broadcasts in the Prix Italia sense refer generally
to actuality broadcasts. The closer the program conforms to the notion of
reportage, the greater consideration is given to the entry.
The prizes that are awarded for the best entries are not inconsiderable
nd in the past have approached the $7, 000. mark. The exact figure is never
*' Jwn until the actual date of the award because of changes in exchange rates,
numbers of countries entering, and other intangibles.
PROCEDURES
Member stations of the National Association of Educational Broad¬
casters are encouraged to submit entries in the field of music and documentary
broadcasting to NAEB's Chairman of International Relations, Seymour N. Siegel,
at 2500 Municipal Building, New York 7, N.Y., before May 15, 1956.
In the case of musical works, entries shall consist of:
1, Two (2) taped copies of the broadcast at 15 IPS or 7-1/2 IPS
2* Two (2) copies of the score
One (1) copy of the words or script of the broadcast
V- Biographical description of the composer and program notes concerning the
background of the music itself.
In the case of documentary broadcasts, the following should b.? sub¬
mitted:
1, Two (2) copies of the taped broadcast at 7 -1/2 IPS or 15 IPS
-3-
2. A copy of the script of the broadcast
3, Biographical material concerning-the writer and procedure of the broadcast.
Should NAEB decide to enter any composition or documentary broad¬
cast in the Prix Italia, the composer and/or writer, and/or producer, will be
required to sign two (2) agreements:
(1) An agreement to reimburse NAEB the sum of $1900. from any
prize money which may be awarded.
(2) An agreement to permit rebroadcast of the prize-winning show
by the broadcasting organizations of constituent countries at a copyright fee no
greater than approximately $120. per broadcast. (The payment of a copyright
fee does not apply to broadcasts in the United States by member stations of the
NAEB where permission must be given for broadcasts without fee.)
The juries for 1956 will meet in Rimini, Italy during the first week
of September. The 1956 Jury for Music will be composed of representatives
from Belgium, France Luxemburg and Monaco. The 1956 Jury for Documentaries
will be composed of representatives from Austria, Canada, Great Britain and
Switzerland.
Since there is a great deal of script translation, entry blanks,
agreement details and other chores to accomplish, it is requested that entries
be forwarded at the earliest practicable moment in the form above described.
Further information, if required, is available by correspondence or telephone.
IMPORTANT INFORMATION ON "PRIX ITALIA 1 ENTRIES FOR 1956
The Prix Italia is an organization originally established by the
Radio Televisione Italiana in 194 7 . At the present time its membership
consists of seventeen (17) different countries. These are: Austria, Franco,
Great Britain, Italy Monaco, the Netherlands, Portugal, Switzerland,
Belgium, Germany, Luxemburg, Canada, Ireland, Japan and the United
States. The United States is represented by the National Association of
Educational Broadcasters.
The Prix Italia is interested In the encouragement and promotion
of quality radio programs in the areas of music, literature and drama, and
documentary broadcasting.
In 1956 the United States is a member of the Literature and Drama
Jury, No entries in this area, therefore, may be made by the United State*.
ENTRIES FOR MUSICAL AND DOCUMENTARY BROADCASTING
In 1956 the United States will enter two (2) musical programs and
two (2) documentary broadcasting programs. The basic requirements for
both types are that they be a minimum of twenty-five (25) minutes in length
and may go as long as eighty -five (35) minutes.
The musical composition must be "with words", and should make
use of the "electrophonic medium". This, therefore, confines musical
compositions to such things as cantatas, operas, choral works or muoical
works employing narrators where the narration is an integral part of the
music itself. The composition should have been completed within the past
- 2 -
year and should likewise have been broadcast within the past year for the first
time.
Documentary broadcasts in the Prix Italia sense refer generally
to actuality broadcasts. The closer the program conforms to the notion of
reportage, the greater consideration is given to the entry.
The prizes that are awarded for the best entries are not inconsiderable
nd in the past have approached the $7,000, mark. The exact figure is never
. : jwn until the actual date of the award because of changes in exchange rates,
numbers of countries entering, and other intangibles.
PROCEDURES
Member stations of the National Association of Educational Broad¬
casters are encouraged to submit entries in the field of music and documentary
broadcasting to NAEB's Chairman of International Relations, Seymour N. Siegel,
at 2500 Municipal Building, New York 7, N.Y., before May 15, 1956.
In the case of musical works, entries shall consist of:
1, Two ( 2 ) taped copies of the broadcast at 15 IPS or 7-1/2 IPS
2, Two (2) copies of the score
One (1) copy of the words or script of the broadcast
Biographical description of the compcrer and program notes concerning the
background of the music itself.
In the case of documentary broadcasts, the following should - j sub¬
mitted:
1, Two (2) copies of the taped broadcast at 7 -1/2 IPS or 15 IPS
2. A copy of the script of the broadcast
3. Biographical material concerning sthe writer and procedure of the broadcast.
Should NAEB decide to enter any composition or documentary broad¬
cast in the Prix Italia, the composer and/or writer, and/or producer, will be
required to sign two (2) agreements:
(1) An agreement to reimburse NAEB the sum of $1900. from any
prize money which may be awarded.
(2) An agreement to permit rebroadcast of the prize-winning show
by the broadcasting organizations of constituent countries at a copyright fee no
greater than approximately $120. per broadcast. (The payment of a copyright
fee does not apply to broadcasts in the United States by member stations of the
NAEB where permission must be given for broadcasts without fee.)
The juries for 1956 will meet in Rimini, Italy during the first week
of September. The 1956 Jury for Music will be composed of representatives
from Belgium, France Luxemburg and Monaco, The 1956 Jury for Documentaries
will be composed of representatives from Austria, Canada, Great Britain and
Switzerland.
Since there is a great deal of script translation, entry blanks,
agreement details and other chores to accomplish, it is requested that entries
be forwarded at the earliest practicable moment in the form above described.
Further information, if required, is avail?. Ae by correspondence or telephone.
NATIONAL ASSOCIATION
of
EDUCATIONAL BROADCASTERS
14 Gregory Hall Urbana, Illinois
TO: ALL NAEB ACTIVE AND ASSOCIATE MEMBERS
FROM: Harry J. Skornia, Executive Directoi
DATE: March 22, 1955
SUBJECT: ITALIA PRIZE ANNOUNCEMENT (Prix Italia)
The NAEB, as a participating member, is again this year eligible to enter the Prix
Italia contest. Therefore, if any NAEB members have musical, dramatic or rmisico-
dramatic programs which might qualify urder the conditions set forth in the attached,
they should send their entry to Seymour Siegel, chairman of the NAEB International
Relations Committee, NOT LATER THAN May 1, 1955* The program must be recorded on
tape, at 15 inches per second, and must be accompanied by the statement of permis¬
sions from the author, which is described in detail in the attached.
Since the NAEB will be represented on the Documentary Jury this year, we cannot sub¬
mit any documentary entries.
This year a prize in television has also been added and applicable sections from
Appendix 3 (television prize) of the Prix Italia announcement are included in the
attached.
The NAEB entries will be selected, from those submitted, by the NAEB International
Relations Committee composed of Seymour Siegel, chairman, Graydon Ausmus, Kathleen
Lardie, Burton Paulu, Robert VanDuyn, Marvin Alisky and Lawrence Creshkoff, and
Harry Skornia, ex officio.
It is suggested that the problem of French translation, like other details set forth
in the rules (other than author*s statement of permission), be postponed until such
time as the above named committee shall determine which, if any entries will be
finally submitted. At that time the committee will call upon the submitting member
for whatever assistance is needed in these matters.
Following are quoted the applicable sections from the Prix Italia announcement, with
paragraph numbers as in the original.
HEH/HJS/cr
NAEB Headquarters
1U Gregory Hall
Urbana, Illinois
Apr. 15, 1956
IMPORTANT INFORMATION ON "PRIX ITALIA" ENTRIES FOR 1956
The Prix Italia is an organization originally established by the Radio Televisions
Italians in 19b7» v At the present 1 time its membership, consists of seventeen (17)
different countries. These are: Austria, France, Great Britain,. Italy, Monaco,
the Netherlands, Portugal, Switzerland,. Belgium, Germany, Luxemburg, Canada, Ireland,
-japan and the'United States. The United States is represented by the National Asso¬
ciation of Educational Broadcasters.
The Prix Italia is interested in the encouragement and promotion of quality radio
programs in the areas of music, literature and drama, and documentary broadcasting.
In 1956 the United States is a member of. the Literature and Drama Jury* No entries
in this area, therefore*, may. be made by the United States.
ENTRIES FOR MUSICAL AND DOCUMENTARY, BROADCASTING
In 1956 the United States will enter two (2) musical programs and two (2) documentary
broadcasting programs. The basic requirements for both types are that they be a
minimum of twenty-five ( 25 ) minutes in length and may go as long as eighty-five (85)
minutes.
The musical composition must be "with words," and should make use of the "electro-
phonic medium." This, therefore, confines musical compositions to such things as
cantatas, operas, choral works or musical works employing narrators where the nar¬
ration is an integral part of the music itself. The composition should have been
completed within the past year and should likewise have been broadcast within the
past year for the first time.
Documentary broadcasts in the Prix Italia sense refer generally to actuality broad¬
casts. The closer the program conforms to the notion of reportage, the greater con¬
sideration is given to the entry.
The prizes that are awarded for the best entries are not inconsiderable and in the
past have approached the $7,000. mark. The exact figure is never known until the
actual date of the award because of changes in exchange rates, numbers of countries
entering, and other intangibles.
PROCEDURES
Member stations of the National Association of Educational Broadcasters are encour¬
aged to submit entries in the field of music and documentary broadcasting to NAEB*s
Chairman of International Relations, Seymour N. Siegel, at 2500: Municipal Building,
New York 7, N.Y., before M a y 15, 1956.
- 2 -
In the case of musical; wor.k.5,. entries shall consist of:
1. Two
2. Two (2.
3. One (1)
U.
Si!
taped copies of the broadcast at 19 IPS-or 7-1/2 IPS
copies of the scofe
copy of the words'or script of the broadcast
Biographical,description of the composer and'program notes concerning the back¬
ground of the music itself , - •• • -
In the case of documentary broadcasts, the following should be submitted:
1, Two (2) copies of the taped broadcast- at 7-1/2- IPS or 19 IPS
2* A copy of the script of the broadcast
3* Biographical material concerning the'writer and procedure of the broadcast.
Should NAEB decide to enter any composition or documentary broadcast in the Prix
lualia, the composer and/or writer, and/or producer, will be required to sign
two (2) agreements: ..- - • ; ; .
(1) An agreement to reimburse NAEB the sum of $1900. from any prize money
which may be awarded. " - * . > f
(2) An agreement to permit rebroadcast of the prize-winning show by the
broadcasting organizations of constituent countries at a copyright.fee
no greater than approximately $120. per broadcast. (The payment of a
copyright fee does not apply to broadcasts in the United States by mem¬
ber stations of the NAEB where permission must be given for broadcasts
r without fee.) ' ■* :
The juries for 1996 will meet in Rimini, Italy during the first week of September.
The 1996. Jury for Music mil be composed of representatives from Belgium, France,
Luxemburg and Monaco. The 1996 Jury for Documentaries will be composed of repre¬
sentatives from Austria, Canada, Gfeat Britain and Switzerland.
Since there is a great deal of script translation, entry blanks, agreement details
and other chores to accomplish, it is requested that entries be forwarded at the
earliest practicable moment in the form above described. Further information, if
required, is available by correspondence or telephone.
' Qmj, yXUXc C J
— /Mal^loc
NAEB He s
lU Gregory Hall
Urbana, Illinois
Apr* |5, 1956
IMPORTANT INFORMATION ON "PRIX ITALIA” ENTRIES FOR 1956
The Prix Italia is an organization originally established by the Radio Televisione
Italiana in 19U7. At the present time its membership consists of seventeen (17)
different countries. These are: Austria, France, Great Britain, Italy, Monaco,
tiie Netherlands, Portugal, Switzerland, Belgium, Germany, Luxemburg, Canada, Ireland,
Japan and the United States, The United States is represented by the National Asso¬
ciation of Educational Broadcasters.
The Prix Italia is interested in the encouragement and promotion of quality radio
programs in the areas of music, literature and drama, and documentary broadcasting.
In 1956 the United States is a member of the Literature and Drama Jury. No entries
in this area, therefore, may be made by the United States.
ENTRIES FOR MUSICAL AND DOCUMENTARY BROADCASTING
In 1956 the United States will enter two (2) musical programs and two (2) documentary
broadcasting programs. The basic requirements for both types are that they be a
minimum of twenty-five (25) minutes in length and may go as long as eighty-five (85)
minutes.
The musical composition must be "with words," and should make use of the "electro-
phonic medium." This, therefore, confines musical compositions to such things as
cantatas, operas, choral works or musical works employing narrators where the nar¬
ration is an integral part of the music itself. The composition should have been
completed within the past year and should likewise have been broadcast within the
past year for the first time.
Documentary broadcasts in the Prix Italia sense refer generally to actuality broad¬
casts. The closer the program conforms to the notion of reportage, the greater con¬
sideration is given to the entry.
The prizes that are awarded for the best entries are not inconsiderable and in the
past have approached the $7,000. mark. The exact figure is never known until the
actual date of the award because of changes in exchange rates, numbers of countries
entering, and other intangibles.
PROCEDURES
Member stations of the National Association of Educational Broadcasters are encour¬
aged to submit entries in the field of music and documentary broadcasting to NAEB*s
Chairman of International Relations, Seymour N, Siegel, at 2500; Municipal Building,
New York 7, N.Y., before M ay 15, 1956.
In the case of musical works, entries shall consist of:
1. Two (2) taped copies, of the broadcast at If? IPS or 7-1/2 IPS
2. Two (2) copies of the score
3. One (1) copy of the words or script of the broadcast
h • Biographical description of the composer and program notes concerning the back¬
ground of the music itself*
In the case of documentary broadcasts, the following should be submitted:
1* Two (2) copies of the taped broadcast at 7-1/2 IPS or 19 IPS
2. A copy of the script of the broadcast
3* Biographical material concerning the writer and procedure of the broadcast.
Should NAEB decide to enter any composition or documentary broadcast in the Prix
To alia, the composer and/or writer, and/or producer, will be required to sign
two (2) agreements:
(1) An agreement to reimburse NAEB the sum of $1900. from any prize money
which may be awarded.
(2) An agreement to permit rebroadcast of the prize-winning show by the
broadcasting organizations of constituent countries at a copyright fee
no greater than approximately $120. per broadcast. (The payment of a
copyright fee does not apply to broadcasts in the United States by mem¬
ber stations of the NAEB where permission must be given for broadcasts
without fee.)
The juries for 1996 will meet in Rimini, Italy during the first week of September.
The 1996 Jury for Music will be composed of representatives from Belgium, France,
Luxemburg and Monaco. The 1996 Jury for Documentaries will be composed of repre¬
sentatives from Austria, Canada, Great Britain and Switzerland.
Since there is a great deal of'script translation, entry blanks, agreement details
and other chores to accomplish, it is requested that entries be forwarded at the
earliest practicable moment in the form above described. Further information, if
required, is available by correspondence or telephone.
//#e& tffwfonKrets
/ Y //
/ ^/?ii
IMPORTANT INFORMATION ON "PRIX ITALIA'' ENTRIES FOR 1956
l
The Prix Italia is an organization originally established by the
Radio Televisione Italiana in 194 7 . At “the present time its membership
consists of seventeen (17) different countries. These are: Austria, France,
Great Britain, Italy Monaco, the Netherlands, Portugal, Switzerland,
Belgium, Germany, Luxemburg, Canada, Ireland, Japan and the United
States. The United States is represented by the National Association of
Educational Broadcasters.
The Prix Italia is interested in the encouragement and prometi >n
of quality radio programs in the areas of music, literature and drama, and
documentary broadcasting.
In 1956 the United States is a member of the Literature and Drama
Jury. No entries in this area, therefore, may be made by the United States.
ENTRIES FOR MUSICAL AND DOCUMENTARY BROADCASTING
In 1956 the United States will enter two (2) musical programs and
two (2) documentary broadcasting programs. The basic requirements for
both types are that they be a minimum of twenty-five (25) minutes in length
and may go as long as eighty-five (85) minutes.
The musical composition must be "with words", and should make
use of the "electrophonic medium". This, therefore, confines musical
compositions to such things as cantatas, operas, choral works or musical
works employing narrators where the narration is an integral part of the
music itself. The composition should have been completed within the past
-2
year and should likewise have been broadcast within the past year for the first
time.
Documentary broadcasts in the Prix Italia sense refer generally
* > actuality broadcasts. The closer the program conforms to the notion of
reportage, the greater consideration is given to the entry.
The prizes that are awarded for the best entries are not inconsiderable
and in the past have approached the $7, 000. mark. The exact figure is never
known until the actual date of the award because of changes in exchange rates,
numbers of countries entering, and other intangibles.
PROCEDURES
Member stations of the National Association of Educational Broad¬
casters are encouraged to submit entries in the field of music and documentary
broadcasting to NAEB's Chairman of International Relations, Seymour N. Siegel,
at 2500 Municipal Building, New York 7, N. Y, , before May 15, 1956,
In the case of musical works, entries shall consist of:
i s Two (2) taped copies of the broadcast at 15 IPS or 7-1/2 IPS
2. Two (2) copies of the score
- One (1) copy of the words or script of the broadcast
4, Biographical description of the composer and program notes concerning the
background of the music itself.
In the case of documentary broadcasts, the following should ba sub¬
mitted:
1, Two (2) copies of the taped broadcast at 7 -1/2 IPS or 15 IPS
2. A copy of the script of the broadcast
3, Biographical material concerning the writer and procedure of the broadcast.
Should NAEB decide to enter any composition or documentary broad¬
cast in the Prix Italia, the composer and/or writer, and/or producer, will be
required to sign two (2) agreements:
(1) An agreement to reimburse NAEB the sum of $1900. from any
prize money which may be awarded.
(2) An agreement to permit rebroadcast of the prize-winning show
the broadcasting organizations of constituent countries at a copyright fee no
preater than approximately $120. per broadcast. (The payment of a copyright
fee does not apply to broadcasts in the United States by member stations of the
NAEB where permission must be given for broadcasts without fee.)
The juries for 1956 will meet in Rimini, Italy during the first week
of September. The 1956 Jury for Music will be composed of representatives
from Belgium, France Luxemburg and Monaco. The 1956 Jury for Documentaries
will be composed of representatives from Austria, Canada, Great Britain and
Switzerland.
Since there is a great deal of script translation, entry blanks,
agreement details and other chores to accomplish, it is requested that entries
be forwarded at the earliest practicable moment in the form above d ccribed.
Further information, if required, is availa xle by correspondence or telephone.
EACH SCHEDULED SERIES WILL BE SENT DIRECTLY FROM URBANA TO EACH MEM¬
BER STATION ORDERING THEM* IN SHORT* THE NAEB RADIO NETWORK WILL
HANDLE BBC SERIES IN THE SAME MANNER IN WHICH IT HANDLES ITS OTHER
PROGR AMS•
The series available for fall broadcast are :
THE BBC THEATRE, Consisting of thirteen 5° T0 9° minute dramas.
Included will be such titles as "Prisoner*s Progress” by Louis
MacNeice, "The Rivals" by Sheridan, "An Ideal Husband" by Oscar
Wilde, the "Alcestis" of Euripides, and "Aucassjn and Nicolette",
NEWLY TRANSLATED AND ADAPTED FOR RADIO BY RENE HAGUE.
THE ELIZABETHAN THEATRE, consisting of twelve half-hour programs
showing, largely through dramatized excerpts, the progress of
Elizabethan drama from the early "tragedies in blood" to its
great climax in the Shakespearean tragedies.
THE BRIDE OF LAMMERMOOR, a serial dramatization, in eight half-
hour episodes, of Scott* s novel.
The series available for winter broadcast are :
»Prix Italia
4yjL./fSSV c
The NAEB has submitted two entries for the Pr i x Italia contest this
year: December , a dramatic cantata for radio for singing and speak¬
ing VOICES WITH WIND INSTRUMENTS AND PERCUSSION, AND The WISH , A
RADIO OPERA.
The text of December was written by Maeve Olen and the music by Henry
Brant. The text explores the original significance of Christmas
and its relation to a world possessed with the idea of destruction
whether mass or individual, spiritual or physical, self-inflicted
OR SUFFERED.
The Wish , which was written by George Antheil, shows how tragedy be¬
falls A HAPPILY MARRIED COUPLE ON THEIR FOURTH ANNIVERSARY (FIRST
DATE) THROUGH THE HUSBAND*S BEST FRIEND WHO PRESENTS THEM WITH A
POISONED CAKE.
The NAEB representative on the Documentary Jury for the Prix Italia
THIS YEAR WILL BE MISS RUBY MERCER AND SEYMOUR SlEGEL WILL BE OUR
REPRESENTATIVE AT THE GENERAL ASSEMBLY IN PERUGIA.
NAEB ENTRY WINS FIRST IN PR1X ITALIA
dux / 9 Sjs
First prize of ^1*600 for the best musical composition in the inter¬
national Pr i x Italia compet i t i oi^ e v|as p \kqn a §^ u the NAEB entry /’December • ’’
Composed by Henry Brant especially for w radio, the cantata was given
ITS PREMIER OVER WNYC, NEW YORK, ON JULY l8, 1955* EMBODYING THE
PRINCIPAL EXPRESSIVE RESOURCES OFFERED BY THE BROADCASTING MEDIUM,
THE CANTATA COMBINES SINGING AND SPEAKING VplCES WITH WI NO INSTRUMENTS
AND PERCUSSION, In A POIGNANT THEME IT EXPLORES THE^ORIGINAL SIGNI¬
FICANCE of Christmas and its relation to a world obsessed with De¬
struction. The entry was introduced to Newsletter readers in the
September issue.
I ej SC //l
SWISS BROADCASTING CORPORATION BROADCASTS PRIX ITALIA WINNER
The Swiss Broadcasting Corporation (Societe Suisse de Radiodiffusion) broadcast
"December, n the NAEB sponsored Prix Italia winner, on Thursday, December 15, 1955.
The program was broadcast over both Radio-Lausanne and the Swiss Shortwave Service*
"December," a dramatic cantata for radio for singing and speaking voices with wind
instruments and percussion, was given its premier over WNYC, New York City
Municipal Station, on July 18, 1955. The text of "December" was written by Maeve
Olen and the music by Henry Brant.
The broadcast by the Swiss Broadcasting Corporation was arranged through Seymour N.
Siegel, Director of WNYC and chairman of the NAEB International Relations Committee.
. I* $ <° M L.
Now is not too early to plan on entries for the Prix Italia , This year
we 1 re on the jury for drama. Therefore, entries can be in
MUSIC (in which Brant’s December won first place this year)
DOCUMENTARY (which CBC this year won with bird-call recordings. These
should be authentic (not "staged") "actualities," to qualify.)
We ve now proved we can win. Let’s get good entries in again this year.
Rules are as for previous years, as sent you each year. And for details of
dates, etc., contact Sy Siegel.
SUBSTITUTION CARD pile tiSis si*de forward at extreme right of folder
WHEN FACE IS FILLED UP SEE ADDITIONAL CHARGE-OUTS ON BACK
NUMBER NAME OR SUBJECT
DATE OF LETTERS
ISSUED TO
DATE ISSUED
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NATIONAL ASSOCIATION^
of
EDUCATIONAL BROADCASTERS
14 Gregory Hall Urbana, Illinois
TO: ALL NAEB ACTIVE AND ASSOCIATE MEMBERS
FROM: Harry J. Skornia, Executive Director/! < ^
DATE: March 22, 1955
SUBJECT: ITALIA PRIZE ANNOUNCEMENT (Prix Italia)
The NAEB, as a participating member, is again this year eligible to enter the Prix
Italia contest. Therefore, if any NAEB members have musical, dramatic or musico-
dramatic programs which might qualify under the conditions set forth in the attached,
they should send their entry to Seymour Siegel, chairman of the NAEB International
Relations Committee, NOT LATER THAN May 1, 195$* The program must be recorded on
tape, at 15 inches per second, and must be accompanied by the statement of permis¬
sions from the author, which is described in detail in the attached.
Since the NAEB will be represented on the Documentary Jury this year, we cannot sub¬
mit any documentary entries.
This year a prize in television has also been added and applicable sections from
Appendix 3 (television prize) of the Prix Italia announcement are included in the
attached.
The NAEB entries will be selected, from those submitted, by the NAEB International
Relations Committee composed of Seymour Siegel, chairman, Graydon Ausmus, Kathleen
Lardie, Burton Paulu, Robert VanDuyn, Marvin Alisky and Lawrence Creshkoff, and
Harry Skornia, ex officio.
It is suggested that the problem of French translation, like other details set forth
in the rules (other than author*s statement of permission), be postponed until such
time as the above named committee shall determine which, if any entries will be
finally submitted. At that time the committee will call upon the submitting member
for whatever assistance is needed in these matters.
Following are quoted the applicable sections from the Prix Italia announcement, with
paragraph numbers as in the original.
HEH/HJS/cr
Italia Prize proper?
1
An International Prize will be awarded each year in accordance with the
regulations of the present Statute.
The Prize will be called "Italia Prize - International competition for
Radio Works, founded at Capri in 191*8.”
2
Additional Prizes may be awarded as well, each year, in accordance with
the Additional Statutes.
3
The Italia Prize will be awarded each year to:
1) a musical composition with words;
2) a literary or dramatic work with or without music.
The entries submitted must have been especially created for broadcast¬
ing and must be in a form best suited to be presented through the medium
of radio.
The entries submitted must present high aesthetic qualities and must
also include elements which broaden and enrich broadcasting experience.
1 *
Every Broadcasting Organization is free to choose, without any con¬
sideration of nationality, the Authors or Composers of the entries to be
submitted.
The entries submitted may be entirely new. Should they have already
been broadcast, they must not have been put on the air more than two years
before the awarding of the Prize.
Works inspired by texts which have already been published are admitted
on condition that they have a creative value for broadcasting.
Each year the Italia Prize is divided into two parts having equal
value, of which:
—one to be awarded to a musical composition with text;
—and the other, to be awarded to a literary or dramatic work with
or without music.
The awarding of ex-aequo prizes is excluded.
6
The Juries shall not examine any entries other than those submitted
by the Broadcasting Organizations which have accepted the Statute of the
Italia Prize and have fulfilled all the conditions laid down by the said
Statute.
Entries of a publicity character will be rejected.
In the choice of entries, Broadcasting Organizations should bear in
mind the suitability of the works for being broadcast by all the Organiza¬
tions participating in the Italia Prize.
It is also desirable that the entries submitted to the Juries should
be easy to translate without impairing their artistic value.
- 2 -
7
The Juries shall examine only entries accompanied by a written state¬
ment by which the Author, insofar as he is concerned, declares that, under
reserve of his moral right and for the sole purpose of permitting the broad¬
casting of his work by all the Organizations participating in the Italia
Prize, he authorizes the said Organizations, should his work be awarded a
prize, to proceed:
a) with the necessary translations and with the indispensable adapta¬
tions of the work;
b) with the recording of the work by means of instruments suitable
for the mechanical reproduction of sound with a view to the broad¬
casts provided for under c) hereunder;
c) with two broadcasts of the work either by direct broadcast or in
relay or by means of instruments suitable for mechanical repro¬
duction. For each of these broadcasts the Author shall be cred¬
ited with the usual amounts paid by the Broadcasting Organization
for works of the same nature. No additional amounts of any kind
shall be claimable by the Author on account of the fact that the
work has been awarded a prize.
In the above mentioned statement, the Author must also declare that,
insofar as the entry is concerned, he is the sole owner of the rights of
translation, adaptation, reproduction and broadcasting, otherwise he must
indicate the owner or owners of either one or of all of these rights. In
the latter case, the Organization submitting the entry may request from
the Author, making it a condition to be fulfilled before submitting the
entry to the Juries, written authority from the said owners covering the
points in a), b), and c) above.
8
The Juries, in the case of works with music, shall only examine entries
accompanied by one of the four statements listed hereunder;
a) if the work has not yet been published or been the object of a
contract for publication, the Author must make a written state¬
ment authorizing—in the event of the work being awarded a prize-
all the Organizations participating in the Italia Prize to make
the necessary copies, reserved to their own exclusive use, agree¬
ments to the contrary excepted, for the two broadcasts mentioned
in Art. 7 above;
b) if the work, though not yet published, has already been the sub¬
ject of a contract for publication, the Author must accompany it
by the statement mentioned under paragraph a) above signed, how¬
ever, by the lawful owner of the copyright;
c) if the work has already been published by a third party and no
copies can be found for sale at the usual price, the Author must
accompany it by a written statement signed by the publisher who
thereby undertakes—in the event of the work being awarded a
prize—to let on hire at the usual fee a complete copy of the
work to all the Organizations participating in the Italia Prize
who might apply for it;
d) if the work has been published by the Author himself and no copies
can be found for sale at the usual price, the Author must accom¬
pany it by a written statement by which he undertakes—in the event
of the work being awarded a prize—to make available to all the
Organizations participating in the Italia Prize that may request it,
a complete copy of the work against payment of the hire fee.
- 3 -
9
Should the Jury consider that the quality of the works submitted does
not justify the awarding of the prize, the amount shall be turned over to
the reserve funds provided for in Art. 32.
11
All Organizations participating in the Italia Prize are strongly rec¬
ommended to broadcast, if possible by their own production, the winning
entries, within the twelve months following the awarding of the Prize.
12
Entries submitted must have a minimum duration of 2£ minutes and must
not exceed 8 £ minutes.
13
The Juries for the Italia Prize and for the additional Prizes shall be
formed as follows:
Each year the ordinary General Assembly, mentioned in Art. 2k, shall
form, for the following year, as many Juries as are the categories of en¬
tries to which the Italia Prize and the additional Prizes are to be awarded.
The seats in the various Juries shall be divided among all the Organizations
participating in the Italia Prize. No Organization may be appointed two
years consecutively to attend on the same Jury.
Each Organization may be appointed to attend on only one Jury and may
send, as Juryman, a broadcasting expert of its choice.
1U
Each Organization may submit two musical compositions with words, two
literary or dramatic works with or without music as well as the works men¬
tioned by the additional Statutes.
However an Organization appointed to attend on a Jury may not submit
any entries to that same Jury.
20
Entries submitted by the Organizations participating in the Italia Prize,
must reach the Secretariat at least six weeks before the meeting of the Juries*
Entries forwarded to the Secretariat of the Italia Prize shall consist
of:
For musical works:
a) two recordings of the work 5
b) at least two copies of the musical score ;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
For literary or dramatic works:
a) two recordings in the original language;
b) when necessary, a copy of the musical score;
c) a sufficient number o'f copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
-u-
21
The Prize shall be awarded, if possible, within the last week of Sep¬
tember. The Secretariat fixes the dates of the meetings of the Juries.
28
The maximum amount of the Italia Prize is fixed at the equivalent of
35.000 Swiss Francs and the minimum at the equivalent of 20.000 Swiss Francs.
33
Any Broadcasting Organization of a Country belonging to the I.T.U. may
participate in the Italia Prize.
The Radio Italiana Prize (in effect a second prize):
1
The Prize shall be called the Radio Italiana Prize.
2
The Radio Italiana Prize shall be awarded each year according to the
conditions established by Art. 3 hereunder and following the procedure laid
down by Art. 5 of the Statute of the Italia Prize.
3
The Radio Italiana Prize shall be awarded by the Italia Prize Juries.
The Juries shall choose among the entries submitted to the Italia Prize,
after the said Prize has been awarded, the most deserving work in each one
of the two categories provided for in Art. 3 of the Italia Prize Statute.
h
The sum allocated to the Radio Italiana Prize shall be equal to half
the amount of the sum allocated to the Italia Prize.
The sum in question shall be paid to the winners in Lire by the Sec¬
retariat,
5
Under reserve of the Regulations specified in the present Appendix,
the rules of the Italia Prize Statute, "mutatis mutandis,” are applicable
to the Radio Italiana Prize.
Italia Prize for Television;
- 5 -
1
An International Prize shall be awarded for two years in accordance with
the regulations of the present Appendix.
The Prize shall be called "Italia Prize for Television."
2
The Italia Prize for Television shall be awarded to: a dramatic work, with
or without music, of original inspiration, whose subject has been especially
created for television.
3
Every Organization Member of the Italia Prize is free to choose, without
any consideration of nationality, the Authors of the entries to be submitted.
The entries submitted may be entirely new. Should they have already been
telecast, they must not have been put on the air more than one year before the
awarding of the Prize.
h
The Italia Prize for Television may not be divided.
5
The Juiy of the Italia Prize for Television shall not examine any entries
other than those submitted by the Organizations participating in the Interna¬
tional Competition of the Italia Prize, which have accepted the Statute of the
Prize and have fulfilled all the conditions laid down by the said Statute.
Entries of a publicity character will be rejected,
6
The Jury shall examine only entries accompanied by a written statement by
which the Authors, insofar as they are concerned, declare that - under reserve
of their moral right and for the sole purpose of permitting the telecast of
their work by all the Organizations participating in the Italia Prize - they
authorize the said Organizations, should their work be awarded a prize, to pro¬
ceed:
a) with the necessary translations and dubbings, and with the indispensable
adaptations of the work;
b) with the recording of the work by instruments suitable for the reproduc¬
tion of pictures and sounds (transcriber), with a view to the telecasts
provided for under c) hereunder;
c) with two telecasts of the work either by direct telecast or in relay or
by means of instruments suitable for reproduction. For each of these
telecasts the Authors shall be credited with the usual amounts paid by
the Telecasting Organizations for works of the same nature. No addi¬
tional amounts of any kind shall be claimable by the Authors on account
of the fact that the work has been awarded a prize.
In the above mentioned statement, the Authors must also declare that, inso¬
far as the entry is concerned, they are the sole owners of the rights of trans¬
lation, dubbing included, adaptation, reproduction and telecasting, otherwise
they must indicate the owner or owners of either one or of all of these rights.
In the latter case, the Organization submitting the entry may request from the
Authors, making it a condition to be fulfilled before submitting the entry to
the Juries, written authority from the said owners covering the points in a),
b) and c) above.
- 6 -
*
7
Same as Section 8 of Italia Prize Statute.
8
Same as Section 9 of Italia Prize Statute.
10
Same as Section 12 of Italia Prize Statute.
11
The Jury for the Italia Prize for Television shall be formed by all the
Organizations participating in the Italia Prize which supply a regular service
of television and have fulfilled the conditions laid down by Art. 9 of this
Appendix.
Each Organization shall be represented on the Jury by a television expert
of its choice.
12
Each Organization may submit only one work to the Jury.
17
Entries submitted to the Italia Prize for Television must reach the Secre¬
tariat at least four weeks before the meeting of the Jury.
Entries forwarded to the Secretariat of the Italia Prize shall consist of:
a) a recording of the work (transcriber);
b) the text in the original language of subject, scenario, dialogues, etc.;
c) a sufficient number of copies of the English and French translation of
the texts mentioned above;
d) when necessary, a copy of the musical score;
e) explanatory notes on the work and its Authors.
18
The Italia Prize for Television shall be awarded in the same town and during
the same session of the Italia Prize.
20
The Italia Prize for Television is offered by the RAI and the amount is
fixed in two million lire.
The sum allocated to the Italia Prize for Television shall be paid in lire
by the Secretariat of the Italia Prize to the Organization submitting the entry
which has been awarded the prize. This Organization shall have the responsibility
of dividing the sum among the authors of the entry.
NATIONAL ASSOCIATION
of
EDUCATIONAL BROADCASTERS
14 Gregory Hall Urbana, Illinois
TO: ALL NAEB ACTIVE AND ASSOCIATE MEMBERS
FROM: Harry J. Skornia, Executive
DATE: March 22,
SUBJECT: ITALIA PRIZE ANNOUNCEMENT (Prix Italia) (/)
Director
U#
The NAEB, as a participating member, is again this year eligible to enter the Prix
Italia contest. Therefore, if any NAEB members have musical, dramatic or musico-
dramatic programs which might qualify under the conditions set forth in the attached,
they should send their entry to Seymour Siegel, chairman of the NAEB International
Relations Committee, NOT LATER THAN May 1, 1955* The program must be recorded on
tape, at 15 inches per second, and must be accompanied by the statement of permis¬
sions from the author, which is described in detail in the attached.
Since the NAEB will be represented on the Documentary Jury this year, we cannot sub¬
mit any documentary entries.
This year a prize in television has also been added and applicable sections from
Appendix 3 (television prize) of the Prix Italia announcement are included in the
attached.
The NAEB entries will be selected, from those submitted, by the NAEB International
Relations Committee composed of Seymour Siegel, chairman, Graydon Aiusmus, Kathleen
Lardie, Burton Paulu, Robert VanDuyn, Marvin Alisky and Lawrence Creshkoff, and
Harry Skornia, ex officio.
It is suggested that the problem of French translation, like other details set forth
in the rules (other than author*s statement of permission), be postponed until such
time as the above named committee shall determine which, if any entries will be
finally submitted. At that time the committee will call upon the submitting member
for whatever assistance is needed in these matters.
Following are quoted the applicable sections from the Prix Italia announcement, with
paragraph numbers as in the original.
HEH/HJS/cr
Italia Prize proper:
1
An International Prize will be awarded each year in accordance with the
regulations of the present Statute,
The Prize will be called "Italia Prize - International competition for
Radio Works, founded at Capri in 19U8."
2
Additional Prizes may be awarded as well, each year, in accordance with
the Additional Statutes,
3
The Italia Prize will be awarded each year to:
1 ) a musical composition with words 5
2 ) a literary or dramatic work with or without music.
The entries submitted must have been especially created for broadcast¬
ing and must be in a form best suited to be presented through the medium
of radio.
The entries submitted must present high aesthetic qualities and must
also include elements which broaden and enrich broadcasting experience.
h
Every Broadcasting Organization is free to choose, without any con¬
sideration of nationality, the Authors or Composers of the entries to be
submitted.
The entries submitted may be entirely new. Should they have already
been broadcast, they must not have been put on the air more than two years
before the awarding of the Prize.
Works inspired by texts which have already been published are admitted
on condition that they have a creative value for broadcasting,
5
Each year the Italia Prize is divided into two parts having equal
value, of which:
—one to be awarded to a musical composition with text 5
—and the other, to be awarded to a literary or dramatic work with
or without music.
The awarding of ex-aequo prizes is excluded,
6
The Juries shall not examine any entries other than those submitted
by the Broadcasting Organizations which have accepted the Statute of the
Italia Prize and have fulfilled all the conditions laid down by the said
Statute.
Entries of a publicity character will be rejected.
In the choice of entries, Broadcasting Organizations should bear in
mind the suitability of the works for being broadcast by all the Organiza¬
tions participating in the Italia Prize.
It is also desirable that the entries submitted to the Juries should
be easy to translate without impairing their artistic value.
- 2 -
7
The Juries shall examine only entries accompanied by a written state¬
ment by which the Author, insofar as he is concerned, declares that, under
reserve of his moral right and for the sole purpose of permitting the broad¬
casting of his work by all the Organizations participating in the Italia
Prize, he authorizes the said Organizations, should his work be awarded a
prize, to proceed;
a) with the necessary translations and with the indispensable adapta¬
tions of the work;
b) with the recording of the work by means of instruments suitable
for the mechanical reproduction of sound with a view to the broad¬
casts provided for under c) hereunder;.
c) with two broadcasts of the work either by direct broadcast or in
relay or by means of instruments suitable for mechanical repro¬
duction. For each of these broadcasts the Author shall be cred--
ited with the usual amounts paid by the Broadcasting Organization
for works of the same nature. No additional amounts of any kind
shall be claimable by the Author on account of the fact that the
work has been awarded a prize.
In the above mentioned statement, the Author must also declare that,
insofar as the entry is concerned, he is the sole owner of the rights of
translation, adaptation, reproduction and broadcasting, otherwise he must
indicate the owner or owners of either one or of all of these rights. In
the latter case, the Organization submitting the entry may request from
the Author, making it a condition to be fulfilled before submitting the
entry to the Juries, written authority from the said owners covering the
points in a), b), and c) above.
8
The Juries, in the case of works with music, shall only examine entries
accompanied by one of the four statements listed hereunder:
a) if the work has not yet been published or been the object of a
contract for publication, the Author must make a written state¬
ment authorizing—in the event of the work being awarded a prize-
all the Organizations participating in the Italia Prize to make
the necessary copies, reserved to their own exclusive use, agree¬
ments to the contrary excepted, for the two broadcasts mentioned
in Art. 7 above;
b) if the work, though not yet published, has already been the sub¬
ject of a contract for publication, the Author must accompany it
by the statement mentioned under paragraph a) above signed, how¬
ever, by the lawful owner of the copyright;
c) if the work has already been published by a third party and no
copies can be found for sale at the usual price, the Author must
accompany it by a written statement signed by the publisher who
thereby undertakes—in the event of the work being awarded a
prize—to let on hire at the usual fee a complete copy of the
work to all the Organizations participating in the Italia Prize
who might apply for it;
d) if the work has been published by the Author himself and no copies
can be found for sale at the usual price, the Author must accom¬
pany it by a written statement by which he undertakes—in the event
of the work being awarded a prize—to make available to all the
Organizations participating in the Italia Prize that may request it,
a complete copy of the work against payment of the hire fee. .
- 3 -
9
Should the Jury consider that the quality of the works submitted does
not justify the awarding of the prize, the amount shall be turned over to
the reserve funds provided for in Art. 32.
11
All Organizations participating in the Italia Prize are strongly rec¬
ommended to broadcast, if possible by their own production, the winning
entries, within the twelve months following the awarding of the Prize.
12
Entries submitted must have a minimum duration of 25 minutes and must
not exceed 85 minutes.
13
The Juries for the Italia Prize and for the additional Prizes shall be
formed as follows:
Each year the ordinary General Assembly, mentioned in Art. 2U, shall
form, for the following year, as many Juries as are the categories of en¬
tries to which the Italia Prize and the additional Prizes are to be awarded.
The seats in the various Juries shall be divided among all the Organizations
participating in the Italia Prize. Mo Organization may be appointed two
years consecutively to attend on the same Jury.
Each Organization may be appointed to attend on only one Jury and may
send, as Juryman, a broadcasting expert of its choice.
lh
Each Organization may submit two musical compositions with words, two
literary or dramatic works with or without music as well as the works men¬
tioned by the additional Statutes.
However an Organization appointed to attend on a Jury may not submit
any entries to that same Jury.
20
Entries submitted by the Organizations participating in the Italia Prize,
must reach the Secretariat at least six weeks before the meeting of the Juries.
Entries forwarded to the Secretariat of the Italia Prize shall consist
of:
For musical works:
a) two recordings of the work;
b) at least two copies of the musical score $
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
For literary or dramatic works:
a) two recordings in the original language;
b) when necessary, a copy of the musical score;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
-ii-
21
The Prize shall be awarded, if possible, within the last week of Sep¬
tember. The Secretariat fixes the dates of the meetings of the Juries.
28
The maximum amount of the Italia Prize is fixed at the equivalent of
35.000 Swiss Francs and the minimum at the equivalent of 20.000 Sitfiss Francs.
33
Any Broadcasting Organization of a Country belonging to the I.T.U. may
participate in the Italia Prize.
The Radio Italiana Prize (in effect a second prize):
1
The Prize shall be called the Radio Italiana Prize.
2
The Radio Italiana Prize shall be awarded each year according to the
conditions established by Art. 3 hereunder and following the procedure laid
down by Art. 5 of the Statute of the Italia Prize.
3
The Radio Italiana Prize shall be awarded by the Italia Prize Juries.
The Juries shall choose among the entries submitted to the Italia Prize,
after the said Prize has been awarded, the most deserving work in each one
of the two categories provided for in Art. 3 of the Italia Prize Statute.
h
The sum allocated to the Radio Italiana Prize shall be equal to half
the amount of the sum allocated to the Italia Prize.
The sum in question shall be paid to the winners in Lire by the Sec¬
retariat,
5
Under reserve of the Regulations specified in the present Appendix,
the rules of the Italia Prize Statute, "mutatis mutandis," are applicable
to the Radio Italiana Prize.
- 5 -
Italia Prize for Television :
1
An International Prize shall be awarded for two years in accordance with
the regulations of the present Appendix.
The Prize shall be called M Italia Prize for Television."
2
The Italia Prize for Television shall be awarded to: a dramatic work, with
or without music, of original inspiration, whose subject has been especially
created for television.
3
Every Organization Member of the Italia Prize is free to choose, without
any consideration of nationality, the Authors of the entries to be submitted.
The entries submitted may be entirely new. Should they have already been
telecast, they must not have been put on the air more than one year before the
awarding of the Prize.
h
The Italia Prize for Television may not be divided.
5
The Juiy of the Italia Prize for Television shall not examine any entries
other than those submitted by the Organizations participating in the Interna¬
tional Competition of the Italia Prize, which have accepted the Statute of the
Prize and have fulfilled all the conditions laid down by the said Statute.
Entries of a publicity character will be rejected.
6
The Jury shall examine only entries accompanied by a written statement by
which the Authors, insofar as they are concerned, declare that - under reserve
of their moral right and for the sole purpose of permitting the telecast of
their work by all the Organizations participating in the Italia Prize - they
authorize the said Organizations, should their work be awarded a prize, to pro¬
ceed:
a) with the necessary translations and dubbings, and with the indispensable
adaptations of the work;
b) with the recording of the work by instruments suitable for the reproduc¬
tion of pictures and sounds (transcriber), with a view to the telecasts
provided for under c) hereunder;
c) with two telecasts of the work either by direct telecast or in relay or
by means of instruments suitable for reproduction. For each of these
telecasts the Authors shall be credited with the usual amounts paid by
the Telecasting Organizations for works of the same nature. No addi¬
tional amounts of any kind shall be claimable by the Authors on account
of the fact that the work has been awarded a prize.
In the above mentioned statement, the Authors must also declare that, inso¬
far as the entry is concerned, they are the sole owners of the rights of trans¬
lation, dubbing included, adaptation, reproduction and telecasting, otherwise
they must indicate the owner or owners of either one or of all of these rights.
In the latter case, the Organization submitting the entry may request from the
Authors, making it a condition to be fulfilled before submitting the entry to
the Juries, written authority from the said owners covering the points in a),
b) and c) above.
- 6 -
7
Same as Section 8 of Italia Prize Statute.
8
Same as Section 9 of Italia Prize Statute.
10
Same as Section 12 of Italia Prize Statute.
11
The Jury for the Italia Prize for Television shall be formed by all the
Organizations participating in the Italia Prize which supply a regular service
of television and have fulfilled the conditions laid down by Art. 9 of this
Appendix.
Each Organization shall be represented on the Jury by a television expert
of its choice.
12
Each Organization may submit only one work to the Jury.
17
Entries submitted to the Italia Prize for Television must reach the Secre¬
tariat at least four weeks before the meeting of the Jury.
Entries forwarded to the Secretariat of the Italia Prize shall consist of:
a) a recording of the work (transcriber);
b) the text in the original language of subject, scenario, dialogues, etc.;
c) a sufficient number of copies of the English and French translation of
the texts mentioned above;
d) when necessary, a copy of the musical score;
e) explanatory notes on the work and its Authors.
18
The Italia Prize for Television shall be awarded in the same town and during
the same session of the Italia Prize.
20
The Italia Prize for Television is offered by the RAI and the amount is
fixed in two million lire.
The sum allocated to the Italia Prize for Television shall be paid in lire
by the Secretariat of the Italia Prize to the Organization submitting the entry
which has been awarded the prize. This Organization shall have the responsibility
of dividing the sum among the authors of the entry.
N A E B
NATIONAL ASSOCIATION
of
EDUCATIONAL BROADCASTERS
14 Gregory Hall Urbana, Illinois
TO: ALL NAEB ACTIVE AND ASSOCIATE MEMBERS
FROM: Harry J. Skornia, Executive Director^ <
DATE: March 22, 1955
SUBJECT: ITALIA PRIZE ANNOUNCEMENT (Prix Italia)
The NAEB, as a participating member, is again this year eligible to enter the Prix
Italia contest. Therefore, if any NAEB members have musical, dramatic or musico-
dramatic programs which might qualify under the conditions set forth in the attached,
they should send their entry to Seymour Siegel, chairman of the NAEB International
Relations Committee, NOT LATER THAN May 1, 1955. The program must be recorded on
tape, at 15 inches per second, and must be accompanied by the statement of permis¬
sions from the author, which is described in detail in the attached.
Since the NAEB will be represented on the Documentary Jury this year, we cannot sub¬
mit any documentary entries.
This year a prize in television has also been added and applicable sections from
Appendix 3 (television prize) of the Prix Italia announcement are included in the
attached.
The NAEB entries will be selected, from those submitted, by the NAEB International
Relations Committee composed of Seymour Siegel, chairman, Graydon Ausmus, Kathleen
Lardie, Burton Paulu, Robert VanDuyn, Marvin Alisky and Lawrence Creshkoff, and
Harry Skornia, ex officio.
It is suggested that the problem of French translation, like other details set forth
in the rules (other than author*s statement of permission), be postponed until*such
time as the above named committee shall determine which, if any entries will be
finally submitted. At that time the committee will call upon the submitting member
for whatever assistance is needed in these matters.
Following are quoted the applicable sections from the Prix Italia announcement, with
paragraph numbers as in the original.
HEH/HJS/cr
Italia Prize proper:
1
An International Prize will be awarded each year in accordance with the
regulations of the present Statute.
The Prize will be called "Italia Prize - International competition for
Radio Works, founded at Capri in 19U8."
2
Additional Prizes may be awarded as well, each year, in accordance with
the Additional Statutes.
3
The Italia Prize will be awarded each year to:
1) a musical composition with wordsj
2) a literary or dramatic work with or without music.
The entries submitted must have been especially created for broadcast¬
ing and must be in a form best suited to be presented through the medium
of radio.
The entries submitted must present high aesthetic qualities and must
also include elements which broaden and enrich broadcasting experience.
k
Every Broadcasting Organization is free to choose, without any con¬
sideration of nationality, the Authors or Composers of the entries to be
submitted.
The entries submitted may be entirely new. Should they have already
been broadcast, they must not have been put on the air more than two years
before the awarding of the Prize,
Works inspired by texts which have already been published are admitted
on condition that they have a creative value for broadcasting.
5
Each year the Italia Prize is divided into two parts having equal
value, of which:
—one to be awarded to a musical composition with textj
—and the other, to be awarded to a literary or dramatic work with
or without music.
The awarding of ex-aequo prizes is excluded.
6
The Juries shall not examine any entries other than those submitted
by the Broadcasting Organizations which have accepted the Statute of the
Italia Prize and have fulfilled all the conditions laid down by the said
Statute.
Entries of a publicity character will be rejected.
In the choice of entries, Broadcasting Organizations should bear in
mind the suitability of the works for being broadcast by all the Organiza¬
tions participating in the Italia Prize,
It is also desirable that the entries submitted to the Juries should
be easy to translate without impairing their artistic value.
- 2 -
7
The Juries shall examine only entries accompanied by a written state¬
ment by which the Author, insofar as he is concerned, declares that, under
reserve of his moral right and for the sole purpose of permitting the broad¬
casting of his work by all the Organizations participating in the Italia
Prize, he authorizes the said Organizations, should his work be awarded a
prize, to proceed:
a) with the necessary translations and with the indispensable adapta¬
tions of the work;
b) with the recording of the work by means of instruments suitable
for the mechanical reproduction of sound with a view to the broad¬
casts provided for under c) hereunder;
c) with two broadcasts of the work either by direct broadcast or in
relay or by means of instruments suitable for mechanical repro¬
duction. For each of these broadcasts the Author shall be cred¬
ited with the usual amounts paid by the Broadcasting Organization
for works of the same nature. No additional amounts of any kind
shall be claimable by the Author on account of the fact that the
work has been awarded a prize.
In the above mentioned statement, the Author must also declare that,
insofar as the entry is concerned, he is the sole owner of the rights of
translation, adaptation, reproduction and broadcasting, otherwise he must
indicate the owner or owners of either one or of all of these rights. In
the latter case, the Organization submitting the entry may request from
the Author, making it a condition to be fulfilled before submitting the
entry to the Juries, written authority from the said owners covering the
points in a), b), and c) above.
8
The Juries, in the case of works with music, shall only examine entries
accompanied by one of the four statements listed hereunder:
a) if the work has not yet been published or been the object of a
contract for publication, the Author must make a written state¬
ment authorizing—in the event of the work being awarded a prize-
all the Organizations participating in the Italia Prize to make
the necessary copies, reserved to their own exclusive use, agree¬
ments to the contrary excepted, for the two broadcasts mentioned
in Art. 7 above;
b) if the work, though not yet published, has already been the sub¬
ject of a contract for publication, the Author must accompany it
by the statement mentioned under paragraph a) above signed, how¬
ever, by the lawful owner of the copyright;
c) if the work has already been published by a third party and no
copies can be found for sale at the usual price, the Author must
accompany it by a written statement signed by the publisher who
thereby undertakes—in the event of the work being awarded a
prize—to let on hire at the usual fee a complete copy of the
work to all the Organizations participating in the Italia Prize
who might apply for it;
d) if the work has been published by the Author himself and no copies
can be found for sale at the usual price, the Author must accom¬
pany it by a written statement by which he undertakes—in the event
of the work being awarded a prize—to make available to all the
Organizations participating in the Italia Prize that may request it,
a complete copy of the work against payment of the hire fee.
■ 3 *
9
Should the Jury consider that the quality of the works submitted does
not justify the awarding of the prize, the amount shall be turned over to
the reserve funds provided for in Art. 32.
11
All Organizations participating in the Italia Prize are strongly rec¬
ommended to broadcast, if possible by their own production, the winning
entries, within the twelve months following the awarding of the Prize.
12
Entries submitted must have a minimum duration of 2£ minutes and must
not exceed 8£ minutes.
13
The Juries for the Italia Prize and for the additional Prizes shall be
formed as follows:
Each year the ordinary General Assembly, mentioned in Art. 2k, shall
form, for the following year, as many Juries as are the categories of en¬
tries to which the Italia Prize and the additional Prizes are to be awarded.
The seats in the various Juries shall be divided among all the Organizations
participating in the Italia Prize. No Organization may be appointed two
years consecutively to attend on the same Juiy.
Each Organization may be appointed to attend on only one Jury and may
send, as Juryman, a broadcasting expert of its choice.
Ik
Each Organization may submit two musical compositions with words, two
literary or dramatic works with or without music as well as the works men¬
tioned by the additional Statutes.
However an Organization appointed to attend on a Jury may not submit
any entries to that same Jury.
20
Entries submitted by the Organizations participating in the Italia Prize,
must reach the Secretariat at least six weeks before the meeting of the Juries.
Entries forwarded to the Secretariat of the Italia Prize shall consist
of:
For musical works:
a) two recordings of the work;
b) at least two copies of the musical score$
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
For literary or dramatic works:
a) two recordings in the original language;
b) when necessary, a copy of the musical score,*
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
-u-
21
The Prize shall be awarded, if possible, within the last week of Sep¬
tember. The Secretariat fixes the dates of the meetings of the Juries.
28
The maximum amount of the Italia Prize is fixed at the equivalent of
35.000 Swiss Francs and the minimum at the equivalent of 20.000 Sxd.ss Francs.
33
Any Broadcasting Organization of a Country belonging to the I.T.U. may
participate in the Italia Prize.
The Radio Italiana Prize (in effect a second prize):
1
The Prize shall be called the Radio Italiana Prize.
2
The Radio Italiana Prize shall be awarded each year according to the
conditions established by Art. 3 hereunder and following the procedure laid
down by Art. 5 of the Statute of the Italia Prize.
3
The Radio Italiana Prize shall be awarded by the Italia Prize Juries.
The Juries shall choose among the entries submitted to the Italia Prize,
after the said Prize has been awarded, the most deserving work in each one
of the two categories provided for in Art. 3 of the Italia Prize Statute.
a
The sum allocated to the Radio Italiana Prize shall be equal to half
the amount of the sum allocated to the Italia Prize.
The sum in question shall be paid to the winners in Lire by the Sec¬
retariat.
5
Under reserve of the Regulations specified in the present Appendix,
the rules of the Italia Prize Statute, "mutatis mutandis," are applicable
to the Radio Italiana Prize.
Italia Prize for Television:
- 5 -
1
An International Prize shall be awarded for two years in accordance with
the regulations of the present Appendix.
The Prize shall be called "Italia Prize for Television."
2
The Italia Prize for Television shall be awarded to: a dramatic work, with
or without music, of original inspiration, whose subject has been especially
created for television.
3
Every Organization Member of the Italia Prize is free to choose, without
any consideration of nationality, the Authors of the entries to be submitted.
The entries submitted may be entirely new. Should they have already been
telecast, they must not have been put on the air more than one year before the
awarding of the Prize.
h
The Italia Prize for Television may not be divided.
5
The Jury of the Italia Prize for Television shall not examine any entries
other than those submitted by the Organizations participating in the Interna¬
tional Competition of the Italia Prize, which have accepted the Statute of the
Prize and have fulfilled all the conditions laid down by the said Statute.
Entries of a publicity character will be rejected.
6
The Jury shall examine only entries accompanied by a written statement by
which the Authors, insofar as they are concerned, declare that - under reserve
of their moral right and for the sole purpose of permitting the telecast of
their work by all the Organizations participating in the Italia Prize - they
authorize the said Organizations, should their work be awarded a prize, to pro¬
ceed:
a) with the necessary translations and dubbings, and with the indispensable
adaptations of the work;
b) with the recording of the work by instruments suitable for the reproduc¬
tion of pictures and sounds (transcriber), with a view to the telecasts
provided for under c) hereunder;
c) with two telecasts of the work either by direct telecast or in relay or
by means of instruments suitable for reproduction. For each of these
telecasts the Authors shall be credited with the usual amounts paid by
the Telecasting Organizations for works of the same nature. No addi¬
tional amounts of any kind shall be claimable by the Authors on account
of the fact that the work has been awarded a prize.
In the above mentioned statement, the Authors must also declare that, inso¬
far as the entry is concerned, they are the sole owners of the rights of trans¬
lation, dubbing included, adaptation, reproduction and telecasting, otherwise
they must indicate the owner or owners of either one or of all of these rights.
In the latter case, the Organization submitting the entry may request from the
Authors, making it a condition to be fulfilled before submitting the entry to
the Juries, written authority from the said owners covering the points in a),
b) and c) above.
- 6 -
7
Same as Section 8 of Italia Prize Statute.
8
Same as Section 9 of Italia Prize Statute.
10
Same as Section 12 of Italia Prize Statute.
11
The Jury for the Italia Prize for Television shall be formed by all the
Organizations participating in the Italia Prize which supply a regular service
of television and have fulfilled the conditions laid down by Art. 9 of this
Appendix.
Each Organization shall be represented on the Jury by a television expert
of its choice.
12
Each Organization may submit only one work to the Jury.
17
Entries submitted to the Italia Prize for Television must reach the Secre¬
tariat at least four weeks before the meeting of the Jury.
Entries forwarded to the Secretariat of the Italia Prize shall consist of:
a) a recording of the work (transcriber);
b) the text in the original language of subject, scenario, dialogues, etc.;
c) a sufficient number of copies of the English and French translation of
the texts mentioned above;
d) when necessary, a copy of the musical score;
e) explanatory notes on the work and its Authors.
18
The Italia Prize for Television shall be awarded in the same town and during
the same session of the Italia Prize.
20
The Italia Prize for Television is offered by the RAJ and the amount is
fixed in two million lire.
The sum allocated to the Italia Prize for Television shall be paid in lire
by the Secretariat of the Italia Prize to the Organization submitting the entry
which has been awarded the prize. This Organization shall have the responsibility
of dividing the sum among the authors of the entry.
N A E B
NATIONAL ASSOCIATION
of
EDUCATIONAL BROADCASTERS
14 Gregory Hall Urbana, Illinois
TO: ALL NAEB ACTIVE AND ASSOCIATE MEMBERS
FROM: Harry J. Skornia, Executive Director
DATE: March 22, 1955
SUBJECT: ITALIA PRIZE ANNOUNCEMENT (Prix Italia)
The NAEB, as a participating member, is again this year eligible to enter the Prix
Italia contest. Therefore, if any NAEB members have musical, dramatic or rnusico-
dramatic programs which might qualify urder the conditions set forth in the attached,
they should send their entry to Seymour Siegel, chairman of the NAEB International
Relations Committee, NOT LATER THAN May 1, 1955u The program must be recorded on
tape, at l£ inches per second, and must be accompanied by the statement of permis¬
sions from the author, which is described in detail in the attached.
Since the NAEB will be represented on the Documentary Jury this year, we cannot sub¬
mit any documentary entries.
This year a prize in television has also been added and applicable sections from
Appendix 3 (television prize) of the Prix Italia announcement are included in the
attached.
The NAEB entries will be selected, from those submitted, by the NAEB International
Relations Committee composed of Seymour Siegel, chairman, Graydon Ausmus, Kathleen
Lardie, Burton Paulu, Robert VanDuyn, Marvin Alisky and Lawrence Creshkoff, and
Harry Skornia, ex officio.
It is suggested that the problem of French translation, like other details set forth
in the rules (other than author*s statement of permission), be postponed until such
time as the above named committee shall determine which, if any entries will be
finally submitted. At that time the committee will call upon the submitting member
for whatever assistance is needed in these matters.
Following are quoted the applicable sections from the Prix Italia announcement, with
paragraph numbers as in the original.
HEH/HJS/cr
1
An International Prize will be awarded each year in accordance with the
regulations of the present Statute.
The Prize will be called "Italia Prize - International competition for
Radio Works, founded at Capri in 19U8."
2
Additional Prizes may be awarded as well, each year, in accordance with
the Additional Statutes.
3
The Italia Prize will be awarded each year to:
1) a musical composition with words;
2) a literary or dramatic work with or without music.
The entries submitted must have been especially created for broadcast¬
ing and must be in a form best suited to be presented through the medium
of radio.
The entries submitted must present high aesthetic qualities and must
also include elements which broaden and enrich broadcasting experience.
U
Every Broadcasting Organization is free to choose, without any con¬
sideration of nationality, the Authors or Composers of the entries to be
submitted.
The entries submitted may be entirely new. Should they have already
been broadcast, they must not have been put on the air more than two years
before the awarding of the Prize,
Works inspired by texts which have already been published are admitted
on condition that they have a creative value for broadcasting.
5
Each year the Italia Prize is divided into two parts having equal
value, of which:
—one to be awarded to a musical composition with text;
—and the other, to be awarded to a literary or dramatic work with
or without music.
The awarding of ex-aequo prizes is excluded.
6
The Juries shall not examine any entries other than those submitted
by the Broadcasting Organizations which have accepted the Statute of the
Italia Prize and have fulfilled all the conditions laid down by the said
Statute.
Entries of a publicity character will be rejected.
In the choice of entries, Broadcasting Organizations should bear in
mind the suitability of the works for being broadcast by all the Organiza¬
tions participating in the Italia Prize.
It is also desirable that the entries submitted to the Juries should
be easy to translate without impairing their artistic value.
- 2 -
7
The Juries shall examine only entries accompanied by a written state¬
ment by which the Author, insofar as he is concerned, declares that, under
reserve of his moral right and for the sole purpose of permitting the broad¬
casting of his work by all the Organizations participating in the Italia
Prize, he authorizes the said Organizations, should his work be awarded a
prize, to proceed:
a) with the necessary translations and with the indispensable adapta¬
tions of the work;
b) with the recording of the work by means of instruments suitable
for the mechanical reproduction of sound with a view to the broad¬
casts provided for under c) herounder;
c) with two broadcasts of the work either by direct broadcast or in
relay or by means of instruments suitable for mechanical repro¬
duction. For each of these broadcasts the Author shall be cred¬
ited with the usual amounts paid by the Broadcasting Organization
for works of the same nature. No additional amounts of any kind
shall be claimable by the Author on account of the fact that the
work has been awarded a prize.
In the above mentioned statement, the Author must also declare that,
insofar as the entry is concerned, he is the sole owner of the rights of
translation, adaptation, reproduction and broadcasting, otherwise he must
indicate the owner or owners of either one or of all of these rights. In
the latter case, the Organization submitting the entry may request from
the Author, making it a condition to be fulfilled before submitting the
entry to the Juries, written authority from the said owners covering the
points in a), b), and c) above.
8
The Juries, in the case of works with music, shall only examine entries
accompanied by one of the four statements listed hereunder:
a) if the work has not yet been published or been the object of a
contract for publication, the Author must make a written state¬
ment authorizing—in the event of the work being awarded a prize-
all the Organizations participating in the Italia Prize to make
the necessary copies, reserved to their own exclusive use, agree¬
ments to the contrary excepted, for the two broadcasts mentioned
in Art. 7 above$
b) if the work, though not yet published, has already been the sub¬
ject of a contract for publication, the Author must accompany it
by the statement mentioned under paragraph a) above signed, how¬
ever, by the lawful owner of the copyright;
c) if the work has already been published by a third party and no
copies can be found for sale at the usual price, the Author must
accompany it by a written statement signed by the publisher who
thereby undertakes—in the event of the work being awarded a
prize—to let on hire at the usual fee a complete copy of the
work to all the Organizations participating in the Italia Prize
who might apply for it;
d) if the work has been published by the Author himself and no copies
can be found for sale at the usual price, the Author must accom¬
pany it by a written statement by which he undertakes—in the event
of the work being awarded a prize—to make available to all the
Organizations participating in the Italia Prize that may request it,
a complete copy of the work against payment of the hire fee.
>
9
Should the Jury consider that the quality of the works submitted does
not justify the awarding of the prize, the amount shall be turned over to
the reserve funds provided for in Art. 32.
11
All Organizations participating in the Italia Prize are strongly rec¬
ommended to broadcast, if possible by their own production, the winning
entries, within the twelve months following the awarding of the Prize.
12
Entries submitted must have a minimum duration of 2$ minutes and must
not exceed 8£ minutes.
13
The Juries for the Italia Prize and for the additional Prizes shall be
formed as follows:
Each year the ordinary General Assembly, mentioned in Art. 2U, shall
form, for the following year, as many Juries as are the categories of en¬
tries to which the Italia Prize and the additional Prizes are to be awarded.
The seats in the various Juries shall be divided among all the Organizations
participating in the Italia Prize. No Organization may be appointed two
years consecutively to attend on the same Jury.
Each Organization may be appointed to attend on only one Jury and may
send, as Juryman, a broadcasting expert of its choice.
lh
Each Organization may submit two musical compositions with words, two
literary or dramatic works with or without music as well as the works men¬
tioned by the additional Statutes.
However an Organization appointed to attend on a Jury may not submit
any entries to that same Jury.
20
Entries submitted by the Organizations participating in the Italia Prize,
must reach the Secretariat at least six weeks before the meeting of the Juries.
Entries forwarded to the Secretariat of the Italia Prize shall consist
of:
For musical works:
a) two recordings of the work;
b) at least two copies of the musical score;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
For literary or dramatic works:
a) two recordings in the original language;
b) when necessary, a copy of the musical score;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
-li-
21
The Prize shall be awarded, if possible, within the last week of Sep¬
tember. The Secretariat fixes the dates of the meetings of the Juries.
28
The maximum amount of the Italia Prize is fixed at the equivalent of
35.000 Swiss Francs and the minimum at the equivalent of 20.000 Swiss Francs.
33
Any Broadcasting Organization of a Country belonging to the I.T.U. may
participate in the Italia Prize.
The Radio Italiana Prize (in effect a second prize):
1
The Prize shall be called the Radio Italiana Prize,
2
The Radio Italiana Prize shall be awarded each year according to the
conditions established by Art. 3 hereunder and following the procedure laid
down by Art. 5 of the Statute of the Italia Prize.
3
The Radio Italiana Prize shall be awarded by the Italia Prize Juries.
The Juries shall choose among the entries submitted to the Italia Prize,
after the said Prize has been awarded, the most deserving work in each one
of the two categories provided for in Art. 3 of the Italia Prize Statute.
b
The sum allocated to the Radio Italiana Prize shall be equal to half
the amount of the sum allocated to the Italia Prize.
The sum in question shall be paid to the winners in Lire by the Sec¬
retariat.
5
Under reserve of the Regulations specified in the present Appendix,
the rules of the Italia Prize Statute, n mutatis mutandis," are applicable
to the Radio Italiana Prize.
Italia Prize for Television:
- 5 -
1
An International Prize shall be awarded for two years in accordance with
the regulations of the present Appendix.
The Prize shall be called n Italia Prize for Television."
2
The Italia Prize for Television shall be awarded to: a dramatic work, with
or without music, of original inspiration, whose subject has been especially
created for television.
3
Every Organization Member of the Italia Prize is free to choose, without
any consideration of nationality, the Authors of the entries to be submitted.
The entries submitted may be entirely new. Should they have already been
telecast, they must not have been put on the air more than one year before the
awarding of the Prize.
h
The Italia Prize for Television may not be divided.
$
The Jury of the Italia Prize for Television shall not examine any entries
other than those submitted by the Organizations participating in the Interna¬
tional Competition of the Italia Prize, which have accepted the Statute of the
Prize and have fulfilled all the conditions laid down by the said Statute.
Entries of a publicity character will be rejected.
6
The Jury shall examine only entries accompanied by a written statement by
which the Authors, insofar as they are concerned, declare that - under reserve
of their moral right and for the sole purpose of permitting the telecast of
their work by all the Organizations participating in the Italia Prize - they
authorize the said Organizations, should their work be awarded a prize, to pro¬
ceed:
a) with the necessary translations and dubbings, and with the indispensable
adaptations of the work;
b) with the recording of the work by instruments suitable for the reproduc¬
tion of pictures and sounds (transcriber), with a view to the telecasts
provided for under c) hereunder;
c) with two telecasts of the work either by direct telecast or in relay or
by means of instruments suitable for reproduction. For each of these
telecasts the Authors shall be credited with the usual amounts paid by
the Telecasting Organizations for works of the same nature. No addi¬
tional amounts of any kind shall be claimable by the Authors on account
of the fact that the work has been awarded a prize.
In the above mentioned statement, the Authors must also declare that, inso¬
far as the entry is concerned, they are the sole owners of the rights of trans¬
lation, dubbing included, adaptation, reproduction and telecasting, otherwise
they must indicate the owner or owners of either one or of all of these rights.
In the latter case, the Organization submitting the entry may request from the
Authors, making it a condition to be fulfilled before submitting the entry to
the Juries, written authority from the said owners covering the points in a),
b) and c) above.
- 6 -
7
Same as Section 8 of Italia Prize Statute.
8
Same as Section 9 of Italia Prize Statute.
10
Same as Section 12 of Italia Prize Statute.
11
The Jury for the Italia Prize for Television shall be formed by all the
Organizations participating in the Italia Prize which supply a regular service
of television and have fulfilled the conditions laid down by Art. 9 of this
Appendix.
Each Organization shall be represented on the Jury by a television expert
of its choice.
12
Each Organization may submit only one work to the Jury.
17
Entries submitted to the Italia Prize for Television must reach the Secre¬
tariat at least four weeks before the meeting of the Jury.
Entries forwarded to the Secretariat of the Italia Prize shall consist of:
a) a recording of the work (transcriber);
b) the text in the original language of subject, scenario, dialogues, etc.;
c) a sufficient number of copies of the English and French translation of
the texts mentioned above;
d) when necessary, a copy of the musical score;
e) explanatory notes on the work and its Authors.
18
The Italia Prize for Television shall be awarded in the same town and during
the same session of the Italia Prize.
20
The Italia Prize for Television is offered by the RAI and the amount is
fixed in two million lire.
The sum allocated to the Italia Prize for Television shall be paid in lire
by the Secretariat of the Italia Prize to the Organization submitting the entry
which has been awarded the prize. This Organization shall have the responsibility
of dividing the sum among the authors of the entry.
*
EDUCATIONAL BROADCASTERS
NATIONAL ASSOCIATION
of
14 Gregory Hall Urbana, Illinois
TO: ALL NAEB ACTIVE AND ASSOCIATE MEMBERS
FROM: Harry J. Skornia, Executive Directoi
DATE: March 22, 1955
SUBJECT: ITALIA PRIZE ANNOUNCEMENT (Prix Italia)
The NAEB, as a participating member, is again this year eligible to enter the Prix
Italia contest. Therefore, if any NAEB members have musical, dramatic or musico-
dramatic programs which might qualify under the conditions set forth in the attached,
they should send their entry to Seymour Siegel, chairman of the NAEB International
Relations Committee, NOT LATER THAN May 1, 195#. The program must be recorded on
tape, at lf> inches per second, and must be accompanied by the statement of permis¬
sions from the author, which is described in detail in the attached.
Since the NAEB will be represented on the Documentary Jury this year, we cannot sub¬
mit any documentary entries.
This year a prize in television has also been added and applicable sections from
Appendix 3 (television prize) of the Prix Italia announcement are included in the
attached.
The NAEB entries will be selected, from those submitted, by the NAEB International
Relations Committee composed of Seymour Siegel, chairman, Graydon Ausmus, Kathleen
Lardie, Burton Paulu, Robert VanDuyn, Marvin Alisky and Lawrence Creshkoff, and
Harry Skornia, ex officio.
It is suggested that the problem of French translation, like other details set forth
in the rules (other than author*s statement of permission), be postponed until such
time as the above named committee shall determine which, if any entries will be
finally submitted. At that time the committee will call upon the submitting member
for whatever assistance is needed in these matters.
Following are quoted the applicable sections from the Prix Italia announcement, with
paragraph numbers as in the original.
HEH/HJS/cr
Italia Prize proper:
1
An International Prize will be awarded each year in accordance with the
regulations of the present Statute,
The Prize will be called "Italia Prize - International competition for
Radio Works, founded at Capri in 19U8,"
2
Additional Prizes may be awarded as well, each year, in accordance with
the Additional Statutes,
3
The Italia Prize will be awarded each year to:
1) a musical composition with wordsj
2) a literary or dramatic work with or without music.
The entries submitted must have been especially created for broadcast¬
ing and must be in a form best suited to be presented through the medium
of radio.
The entries submitted must present high aesthetic qualities and must
also include elements ttfhich broaden and enrich broadcasting experience,
b
Every Broadcasting Organization is free to choose, without any con¬
sideration of nationality, the Authors or Composers of the entries to be
submitted.
The entries submitted may be entirely new. Should they have already
been broadcast, they must not have been put on the air more than two years
before the awarding of the Prize.
Works inspired by texts which have already been published are admitted
on condition that they have a creative value for broadcasting.
5
Each year the Italia Prize is divided into two parts having equal
value, of which:
—one to be awarded to a musical composition with text;
—and the other, to be awarded to a literary or dramatic work with
or without music.
The awarding of ex-aequo prizes is excluded.
6
The Juries shall not examine any entries other than those submitted
by the Broadcasting Organizations which have accepted the Statute of the
Italia Prize and have fulfilled all the conditions laid down by the said
Statute.
Entries of a publicity character will be rejected.
In the choice of entries, Broadcasting Organizations should bear in
mind the suitability of the works for being broadcast by all the Organiza¬
tions participating in the Italia Prize.
It is also desirable that the entries submitted to the Juries should
be easy to translate without impairing their artistic value.
. 2 -
?
The Juries shall examine only entries accompanied by a written state¬
ment by which the Author, insofar as he is concerned, declares that, under
reserve of his moral right and for the sole purpose of permitting the broad¬
casting of his work by all the Organizations participating in the Italia
Prize, he authorizes the said Organizations, should his work be awarded a
prize, to proceed:
a) with the necessary translations and with the indispensable adapta¬
tions of the work;
b) with the recording of the work by means of instruments suitable
for the mechanical reproduction of sound with a view to the broad¬
casts provided for under c) hereunder 5
c) with two broadcasts of the work either by direct broadcast or in
relay or by means of instruments suitable for mechanical repro¬
duction. For each of these broadcasts the Author shall be cred¬
ited with the usual amounts paid by the Broadcasting Organization
for works of the same nature. No additional amounts of any kind
shall be claimable by the Author on account of the fact that the
work has been awarded a prize.
In the above mentioned statement, the Author must also declare that,
insofar as the entry is concerned, he is the sole owner of the rights of
translation, adaptation, reproduction and broadcasting, otherwise he must
indicate the owner or owners of either one or of all of these rights. In
the latter case, the Organization submitting the entry may request from
the Author, making it a condition to be fulfilled before submitting the
entry to the Juries, written authority from the said owners covering the
points in a), b), and c) above.
8
The Juries, in the case of works with music, shall only examine entries
accompanied by one of the four statements listed hereunder:
a) if the work has not yet been published or been the object of a
contract for publication, the Author must make a written state¬
ment authorizing—in the event of the work being awarded a prize-
all the Organizations participating in the Italia Prize to make
the necessary copies, reserved to their own exclusive use, agree¬
ments to the contrary excepted, for the two broadcasts mentioned
in Art. 7 above;
b) if the work, though not yet published, has already been the sub¬
ject of a contract for publication, the Author must accompany it
by the statement mentioned under paragraph a) above signed, how¬
ever, by the lawful owner of the copyright;
c) if the work has already been published by a third party and no
copies can be found for sale at the usual price, the Author must
accompany it by a written statement signed by the publisher who
thereby undertakes—in the event of the work being awarded a
prize—to let on hire at the usual fee a complete copy of the
work to all the Organizations participating in the Italia Prize
who might apply for it;
d) if the work has been published by the Author himself and no copies
can be found for sale at the usual price, the Author must accom¬
pany it by a written statement by which he undertakes—in the event
of the work being awarded a prize—to make available to all the
Organizations participating in the Italia Prize that may request it,
a complete copy of the work against payment of the hire fee.
- 3 -
9
Should the Jury consider that the quality of the works submitted does
not justify the awarding of the prize, the amount shall be turned over to
the reserve funds provided for in Art. 32.
11
All Organizations participating in the Italia Prize are strongly rec¬
ommended to broadcast, if possible by their own production, the winning
entries, within the twelve months following the awarding of the Prize.
12
Entries submitted must have a minimum duration of 2$ minutes and must
not exceed 8£ minutes.
13
The Juries for the Italia Prize and for the additional Prizes shall be
formed as follows:
Each year the ordinary General Assembly, mentioned in Art. 2k, shall
form, for the folloxriLng year, as many Juries as are the categories of en¬
tries to which the Italia Prize and the additional Prizes are to be awarded.
The seats in the various Juries shall be divided among all the Organizations
participating in the Italia Prize. No Organization may be appointed two
years consecutively to attend on the same Juiy.
Each Organization may be appointed to attend on only one Jury and may
send, as Juryman, a broadcasting expert of its choice.
Ik
Each Organization may submit two musical compositions with words, two
literary or dramatic works with or without music as well as the xrorks men¬
tioned by the additional Statutes.
However an Organization appointed to attend on a Jury may not submit
any entries to that same Jury.
20
Entries submitted by the Organizations participating in the Italia Prize,
must reach the Secretariat at least six weeks before the meeting of the Juries.
Entries forwarded to the Secretariat of the Italia Prize shall consist
of:
For musical works:
a) two recordings of the work;
b) at least two copies of the musical score;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
For literary or dramatic works:
a) two recordings in the original language;
b) when necessary, a copy of the musical score;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
-u-
21
The Prize shall be awarded, if possible, within the last week of Sep¬
tember. The Secretariat fixes the dates of the meetings of the Juries.
28
The maximum amount of the Italia Prize is fixed at the equivalent of
3£.000 Swiss Francs and the minimum at the equivalent of 20.000 Swiss Francs.
33
Any Broadcasting Organization of a Country belonging to the I.T.U. may
participate in the Italia Prize.
The Radio Italians Prize (in effect a second prize):
1
The Prize shall be called the Radio Italiana Prize,
2
The Radio Italiana Prize shall be awarded each year according to the
conditions established by Art. 3 hereunder and following the procedure laid
down by Art. 5 of the Statute of the Italia Prize.
3
The Radio Italiana Prize shall be awarded by the Italia Prize Juries.
The Juries shall choose among the entries submitted to the Italia Prize,
after the said Prize has been awarded, the most deserving work in each one
of the two categories provided for in Art. 3 of the Italia Prize Statute.
h
The sum allocated to the Radio Italiana Prize shall be equal to half
the amount of the sum allocated to the Italia Prize.
The sum in question shall be paid to the winners in Lire by the Sec¬
retariat.
5
Under reserve of the Regulations specified in the present Appendix,
the rules of the Italia Prize Statute, "mutatis mutandis,” are applicable
to the Radio Italiana Prize.
- 5 -
Italia Prize for Television :
1
An International Prize shall be awarded for two years in accordance with
the regulations of the present Appendix.
The Prize shall be called "Italia Prize for Television."
2
The Italia Prize for Television shall be awarded to: a dramatic work, with
or without music, of original inspiration, whose subject has been especially
created for television.
3
Every Organization Member of the Italia Prize is free to choose, without
any consideration of nationality, the Authors of the entries to be submitted.
The entries submitted may be entirely new. Should they have already been
telecast, they must not have been put on the air more than one year before the
awarding of the Prize.
k
The Italia Prize for Television may not be divided.
5
The Jury of the Italia Prize for Television shall not examine any entries
other than those submitted by the Organizations participating in the Interna¬
tional Competition of the Italia prize, which have accepted the Statute of the
Prize and have fulfilled all the conditions laid down by the said Statute.
Entries of a publicity character will be rejected.
6
The Jury shall examine only entries accompanied by a written statement by
which the Authors, insofar as they are concerned, declare that - under reserve
of their moral right and for the sole purpose of permitting the telecast of
their work by all the Organizations participating in the Italia Prize - they
authorize the said Organizations, should their work be awarded a prize, to pro¬
ceed:
a) with the necessary translations and dubbings, and with the indispensable
adaptations of the work;
b) with the recording of the work by instruments suitable for the reproduc¬
tion of pictures and sounds (transcriber), with a view to the telecasts
provided for under c) hereunder;
c) with two telecasts of the work either by direct telecast or in relay or
by means of instruments suitable for reproduction. For each of these
telecasts the Authors shall be credited with the usual amounts paid by
the Telecasting Organizations for works of the same nature. No addi¬
tional amounts of any kind shall be claimable by the Authors on account
of the fact that the work has been awarded a prize.
In the above mentioned statement, the Authors must also declare that, inso¬
far as the entry is concerned, they are the sole owners of the rights of trans¬
lation, dubbing included, adaptation, reproduction and telecasting, otherwise
they must indicate the owner or owners of either one or of all of these rights.
In the latter case, the Organization submitting the entry may request from the
Authors, making it a condition to be fulfilled before submitting the entry to
the Juries, written authority from the said owners covering the points in a),
b) and c) above.
- 6 -
7
Same as Section 8 of Italia Prize Statute.
8
Same as Section 9 of Italia Prize Statute.
10
Same as Section 12 of Italia Prize Statute.
11
The Jury for the Italia Prize for Television shall be formed by all the
Organizations participating in the Italia Prize which supply a regular service
of television and have fulfilled the conditions laid down by Art. 9 of this
Appendix.
Each Organization shall be represented on the Jury by a television expert
of its choice.
12
Each Organization may submit only one work to the Jury.
17
Entries submitted to the Italia Prize for Television must reach the Secre¬
tariat at least four weeks before the meeting of the Jury.
Entries forwarded to the Secretariat of the Italia Prize shall consist of:
a) a recording of the work (transcriber);
b) the text in the original language of subject, scenario, dialogues, etc.;
c) a sufficient number of copies of the English and French translation of
the texts mentioned above;
d) when necessary, a copy of the musical score;
e) explanatory notes on the work and its Authors.
18
The Italia Prize for Television shall be awarded in the same town and during
the same session of the Italia Prize.
20
The Italia Prize for Television is offered by the RAI and the amount is
fixed in two million lire.
The sum allocated to the Italia Prize for Television shall be paid in lire
by the Secretariat of the Italia Prize to the Organization submitting the entry
which has been awarded the prize. This Organization shall have the responsibility
of dividing the sum among the authors of the entry.
EDUCATIONAL BROADCASTERS
NATIONAL ASSOCIATION
of
14 Gregory Hall Urbana, Illinois
TO: ALL NAEB ACTIVE AND ASSOCIATE, MEMBERS
FROM: Harry J. Skornia, Executive Directoi
DATE: March 22, 1955
SUBJECT: ITALIA PRIZE ANNOUNCEMENT (Prix Italia)
The NAEB, as a participating member, is again this year eligible to enter the Prix
Italia contest. Therefore, if any NAEB members have musical, dramatic or musico-
dramatic programs which might qualify urder the conditions set forth in the attached,
they should send their entry to Seymour Siegel, chairman of the NAEB International
Relations Committee, NOT LATER THAN May 1, 1955* The program must be recorded on
tape, at 15 inches per second, and must be accompanied by the statement of permis¬
sions from the author, which is described in detail in the attached.
Since the NAEB will be represented on the Documentary Jury this year, we cannot sub¬
mit any documentary entries.
This year a prize in television has also been added and applicable sections from
Appendix 3 (television prize) of the Prix Italia announcement are included in the
attached.
The NAEB entries will be selected, from those submitted, by the NAEB International
Relations Committee composed of Seymour Siegel, chairman, Graydon Ausmus, Kathleen
Lardie, Burton Paulu, Robert VanDuyn, Marvin Alisky and Lawrence Creshkoff, and
Harry Skornia, ex officio.
It is suggested that the problem of French translation, like other details set forth
in the rules (other than author*s statement of permission), be postponed until such
time as the above named committee shall determine which, if any entries will be
finally submitted. At that time the committee will call upon the submitting member
for whatever assistance is needed in these matters.
Following are quoted the applicable sections from the Prix Italia announcement, with
paragraph numbers as in the original.
HEH/HJS/cr
Italia Prize proper:
1
An International Prize will be awarded each year in accordance with the
regulations of the present Statute,
The Prize will be called "Italia Prize - International competition for
Radio Works, founded at Capri in 19U8."
2
Additional Prizes may be awarded as well, each year, in accordance with
the Additional Statutes,
3
The Italia Prize will be awarded each year to:
1 ) a musical composition with words$
2 ) a literary or dramatic work with or without music.
The entries submitted must have been especially created for broadcast¬
ing and must be in a form best suited to be presented through the medium
of radio.
The entries submitted must present high aesthetic qualities and must
also include elements which broaden and enrich broadcasting experience,
h
Every Broadcasting Organization is free to choose, without any con¬
sideration of nationality, the Authors or Composers of the entries to be
submitted.
The entries submitted may be entirely new. Should they have already
been broadcast, they must not have been put on the air more than two years
before the awarding of the Prize.
"Works inspired by texts which have already been published are admitted
on condition that they have a creative value for broadcasting.
Each year the Italia Prize is divided into two parts having equal
value, of which:
—one to be awarded to a musical composition with text 5
—and the other, to be awarded to a literary or dramatic work with
or without music.
The awarding of ex-aequo prizes is excluded.
6
The Juries shall not examine any entries other than those submitted
by the Broadcasting Organizations which have accepted the Statute of the
Italia Prize and have fulfilled all the conditions laid down by the said
Statute,
Entries of a publicity character will be rejected.
In the choice of entries, Broadcasting Organizations should bear in
mind the suitability of the works for being broadcast by all the Organiza¬
tions participating in the Italia Prize,
It is also desirable that the entries submitted to the Juries should
be easy to translate without impairing their artistic value.
. 2 -
7
The Juries shall examine only entries accompanied by a written state¬
ment by which the Author, insofar as he is concerned, declares that, under
reserve of his moral right and for the sole purpose of permitting the broad¬
casting of his work by all the Organizations participating in the Italia
Prize, he authorizes the said Organizations, should his work be awarded a
prize, to proceed:
a) with the necessary translations and with the indispensable adapta¬
tions of the work;
b) with the recording of the work by means of instruments suitable
for the mechanical reproduction of sound with a view to the broad¬
casts provided for under c) hereunder 5
c) with two broadcasts of the work either by direct broadcast or in
relay or by means of instruments suitable for mechanical repro¬
duction. For each of these broadcasts the Author shall be cred¬
ited with the usual amounts paid by the Broadcasting Organization
for works of the same nature. No additional amounts of any kind
shall be claimable by the Author on account of the fact that the
work has been awarded a prize.
In the above mentioned statement, the Author must also declare that,
insofar as the entry is concerned, he is the sole owner of the rights of
translation, adaptation, reproduction and broadcasting, otherwise he must
indicate the owner or owners of either one or of all of these rights. In
the latter case, the Organization submitting the entry may request from
the Author, making it a condition to be fulfilled before submitting the
entry to the Juries, written authority from the said owners covering the
points in a), b), and c) above.
8
The Juries, in the case of works with music, shall only examine entries
accompanied by one of the four statements listed hereunder:
a) if the work has not yet been published or been the object of a
contract for publication, the Author must make a written state¬
ment authorizing—in the event of the work being awarded a prize-
all the Organizations participating in the Italia Prize to make
the necessary copies, reserved to their own exclusive use, agree¬
ments to the contrary excepted, for the two broadcasts mentioned
in Art. 7 above 5
b) if the work, though not yet published, has already been the sub¬
ject of a contract for publication, the Author must accompany it
by the statement mentioned under paragraph a) above signed, how¬
ever, by the lawful owner of the copyright;
c) if the work has already been published by a third party and no
copies can be found for sale at the usual price, the Author must
accompany it by a written statement signed by the publisher who
thereby undertakes—in the event of the work being awarded a
prize—to let on hire at the usual fee a complete copy of the
work to all the Organizations participating in the Italia Prize
who might apply for it;
d) if the work has been published by the Author himself and no copies
can be found for sale at the usual price, the Author must accom¬
pany it by a written statement by which he undertakes—in the event
of the work being awarded a prize—to make available to all the
Organizations participating in the Italia Prize that may request it,
a complete copy of the work against payment of the hire fee.
>
9
Should the Jury consider that the quality of the works submitted does
not justify the awarding of the prize, the amount shall be turned over to
the reserve funds provided for in Art, 32,
11
All Organizations participating in the Italia Prize are strongly rec¬
ommended to broadcast, if possible by their own production, the winning
entries, within the twelve months following the awarding of the Prize.
12
Entries submitted must have a minimum duration of 25 minutes and must
not exceed 85 minutes.
13
The Juries for the Italia Prize and for the additional Prizes shall be
formed as follows;
Each year the ordinary General Assembly, mentioned in Art. 2h , shall
form, for the following year, as many Juries as are the categories of en¬
tries to which the Italia Prize and the additional Prizes are to be awarded.
The seats in the various Juries shall be divided among all the Organizations
participating in the Italia Prize. No Organization may be appointed two
years consecutively to attend on the same Jury.
Each Organization may be appointed to attend on only one Jury and may
send, as Juryman, a broadcasting expert of its choice.
lh
Each Organization may submit two musical compositions with words, two
literary or dramatic works with or without music as well as the works men¬
tioned by the additional Statutes.
However an Organization appointed to attend on a Jury may not submit
any entries to that same Jury.
20
Entries submitted by the Organizations participating in the Italia Prize,
must reach the Secretariat at least six weeks before the meeting of the Juries.
Entries forwarded to the Secretariat of the Italia Prize shall consist
of;
For musical works;
a) two recordings of the work;
b) at least two copies of the musical score;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
For literary or dramatic works;
a) two recordings in the original language;
b) when necessary, a copy of the musical score;
c) a sufficient number of copies of the English and French transla¬
tions of the text;
d) explanatory notes on the work.
21
The Prize shall be awarded, if possible, within the last week of Sep¬
tember. The Secretariat fixes the dates of the meetings of the Juries.
28
The maximum amount of the Italia Prize is fixed at the equivalent of
33>.000 Swiss Francs and the minimum at the equivalent of 20.000 Swiss Francs.
33
Any Broadcasting Organization of a Country belonging to the I.T.U. may
participate in the Italia Prize.
The Radio Italiana Prize (in effect a second prize):
1
The Prize shall be called the Radio Italiana Prize.
2
The Radio Italiana Prize shall be awarded each year according to the
conditions established by Art. 3 hereunder and following the procedure laid
down by Art. 5 of the Statute of the Italia Prize.
3
The Radio Italiana Prize shall be awarded by the Italia Prize Juries.
The Juries shall choose among the entries submitted to the Italia Prize,
after the said Prize has been awarded, the most deserving work in each one
of the two categories provided for in Art. 3 of the Italia Prize Statute.
It
The sum allocated to the Radio Italiana Prize shall be equal to half
the amount of the sum allocated to the Italia Prize.
The sum in question shall be paid to the winners in Lire by the Sec¬
retariat.
£
Under reserve of the Regulations specified in the present Appendix,
the rules of the Italia Prize Statute, "mutatis mutandis," are applicable
to the Radio Italiana Prize.
Italia Prize for Television!
- 5 -
1
An International Prize shall be awarded for two years in accordance with
the regulations of the present Appendix.
The Prize shall be called "Italia Prize for Television."
2
The Italia Prize for Television shall be awarded to: a dramatic work, with
or without music, of original inspiration, whose subject has been especially
created for television.
3
Every Organization Member of the Italia Prize is free to choose, without
any consideration of nationality, the Authors of the entries to be submitted.
The entries submitted may be entirely new. Should they have already been
telecast, they must not have been put on the air more than one year before the
awarding of the Prize.
h
The Italia Prize for Television may not be divided.
5
The Juiy of the Italia Prize for Television shall not examine any entries
other than those submitted by the Organizations participating in the Interna¬
tional Competition of the Italia Prize, which have accepted the Statute of the
Prize and have fulfilled all the conditions laid down by the said Statute.
Entries of a publicity character will be rejected.
6
The Jury shall examine only entries accompanied by a written statement by
which the Authors, insofar as they are concerned, declare that - under reserve
of their moral right and for the sole purpose of permitting the telecast of
their work by all the Organizations participating in the Italia Prize - they
authorize the said Organizations, should their work be awarded a prize, to pro¬
ceed:
a) with the necessary translations and dubbings, and with the indispensable
adaptations of the work;
b) with the recording of the work by instruments suitable for the reproduc¬
tion of pictures and sounds (transcriber), with a view to the telecasts
provided for under c) hereunder;
c) with two telecasts of the work either by direct telecast or in relay or
by means of instruments suitable for reproduction. For each of these
telecasts the Authors shall be credited with the usual amounts paid by
the Telecasting Organizations for works of the same nature. No addi¬
tional amounts of any kind shall be claimable by the Authors on account
of the fact that the work has been awarded a prize.
In the above mentioned statement, the Authors must also declare that, inso¬
far as the entry is concerned, they are the sole owners of the rights of trans¬
lation, dubbing included, adaptation, reproduction and telecasting, otherwise
they must indicate the owner or owners of either one or of all of these rights.
In the latter case, the Organization submitting the entry may request from the
Authors, making it a condition to be fulfilled before submitting the entry to
the Juries, written authority from the said owners covering the points in a),
b) and c) above.
7
Same as Section 8 of Italia Prize Statute.
8
Same as Section 9 of Italia Prize Statute.
10
Same as Section 12 of Italia Prize Statute.
11
The Jury for the Italia Prize for Television shall be formed by all the
Organizations participating in the Italia Prize which supply a regular service
of television and have fulfilled the conditions laid down by Art. 9 of this
Appendix.
Each Organization shall be represented on the Jury by a television expert
of its choice.
12
Each Organization may submit only one work to the Jury.
17
Entries submitted to the Italia Prize for Television must reach the Secre¬
tariat at least four weeks before the meeting of the Jury.
Entries forwarded to the Secretariat of the Italia Prize shall consist of:
a) a recording of the work (transcriber);
b) the text in the original language of subject, scenario, dialogues, etc.;
c) a sufficient number of copies of the English and French translation of
the texts mentioned above;
d) when necessary, a copy of the musical score;
e) explanatory notes on the work and its Authors.
18
The Italia Prize for Television shall be awarded in the same town and during
the same session of the Italia Prize.
20
The Italia Prize for Television is offered by the RAI and the amount is
fixed in two million lire.
The sum allocated to the Italia Prize for Television shall be paid in lire
by the Secretariat of the Italia Prize to the Organization submitting the entry
which has been awarded the prize. This Organization shall have the responsibility
of dividing the sum among the authors of the entry.
Opera en Un Acte et Quatre Tableaux
Livrct et Musique
de
GEORGS ANTHEEL
V 0 E U
L E
Resume
SCSHE I SCSIE I
Jeune couple americain, Harriet et Joshua Reynolds sont
passionnement amoureux I’un de 1’ autre• Ils habitent un petit appar-
tement dans ce quartier de New-York appell Greenwich Village.
L*opera debute au matin d'une fete qui leur est chere : c'est
1’anniversaire du soir ou, quatre ans auparavant, ils se sont rencontre
pour la premiere fois dans un cafe du quartier, '’Chez Alberto”. Ils
fetent toujours ce jour de la roeme maniere : tout d’abord, ils se font
de petits cadeaux peu onereux, par plaisanterie, plutot que pour toute
autre raison, puis ils se commandent un gateau d* anniversaire portant
une inscription telle que ”Je t’aime a jamais” ou ”Je t*aime plus que
la Vie”, avec autant de bougies que d’annees •••• (cette ann£e, le
gateau en aura quatre). Puis, le soir, ils fetent de nouveau l’eve-
nement, a leur table, Chez Alberto, ou ils se sont rencontres pour la
premiere fois. C’est un charmant petit rituel et, tandis que le ri¬
de au se leve, ils se precipitent de leur chambre a coucher pour
ouvrir les cadeaux qu’ils se sont prepares la veille. Ils par lent de
1*inscription qui apparaitra sur leur gateau d*anniversaire cette annee
”Je t’aime a jamais”. Harriet, soudain serieuse, dem a nde a Joshua :
”Crois-tu vraiment que nous nous aimons tellement ? Au-dela de la vie?
Resume
- 2 -
Pour toujours ?” - Elle en est sure, dit-elle et Josh affirme Xe croire
egalement.
Josh est sur le point de partir pour son travail, lorsque son
meilleur ami, son arid, d’enfance, Rick Daggert, entre avec une boxte
qui, une fois ouverte, revele le gateau que Josh allait sans cela com¬
mander en se rendant a son bureau, II le remercie chaleureusement et
s’en va au travail, Seule avec Rick, Harriet prend un couteau de cui¬
sine et le tient au-dessus du gateau, comme si elle allait le decouper,
Rick l»arrete en lui suggerant del* garder pour le soir, sinon elle
l’abimerait. Harriet lui demande froidement "Pourquoi done, est-il
empoisonnl ?” Rick pretend tout d*abord ne pas comprendre, mais, comme
elle lui dit avoir recemment compris qu'il avait essaye d’empoisonner
Josh, il s’effondre et admet que cela est vrai et qu*il l 1 avait tente
en r a ison de son amour pour elle. Incredule, Harriet lui demande
pourquoi il ne lui en avait pas fait part beaucoup plus tot - "J'aurais
pu vous tirer de la” lui dit-elle avec sympathie, comme l’on parlerait
a un irere. Cependant, d’un ton etrangement emphatique, Rick lui dit :
"Po\ir des gens comme moi, il est parfois plus facile d’agir que de
parler. Cela demande beaucoup de courage que d'essayer de commettre
un meurtre i” Ceci ravive la colere d’Harriet qui repond : ”Avec du
poison •••• c*est une arme de femme*’, Rick, incapable de supporter
ce sarcasme, se leve et s’elance hors de l*appartement, laissant
Harriet seule. Elle regarde le gateau avec ses quatre bcugies et une
idee lui vient : elle va faire un voeu, Elle allume les bougies, prie
Resume
- 3 -
pour que son voeu se realise et souffle ...... mais helas, trois
bougies seulement s‘eteignent .... ce qui signifie quielle ne verra
pas son voeu exauce#
Le rideau tombe tandis qu'elle fixe sur le gateau et la
flamme de la derniere bougie un regard ou. se lit la plus profonde
deception.
SCENE II SCENE II
Le rideau se leve surle meme decor, mais c’est maintenant
le soir, vers 7 heures 1/2# L*air est charge d*une etrange agitation.
Josh rentre a la maison, cherche Harriet, ramasse un tisonnier gisant
sur le plancher et le remet dans la cheminee# La proprietaire,Madame
Burnett, fait irruption dans la piece et accuse Josh d*avoir battu
sa femme. Stupefait, il lui demande de quoi il s’agit. Madame Burnett
affirme qu‘il y a a peine trois minutes, elle a entendu Madame Reynolds
crier au meurtrej elle croit evideroment Josh coupable. Alarm©, celui-
ci fouille 1 * appartement, tandis que Madame Burnett, examinant le
plancher, decouvre une tache de sang et s ! enfuit de 1‘appartement.
Josh decide d‘appeler Rick qui occupe 1‘apoartement au-dessus, afin
que ce dernier 1‘aide a trouver Harriet. Pour ce faire, il frappe
sur le tuyau du radiateur et Rick lui repond d‘en haut par les memes
signaux. Cependant, avant que Rick n’arrive. Josh decouvre Harriet,
apparemment morte, etendue sous 1 b divan qu f il a deplac£ lors de la
fouille. Il essaie de la ranimer, ausculte gauchement son coeur et
Resume
la croit morte* Tandis que, mortifie, il s‘agenouille, entre Rick qui
se fige sous l f effet du choc. Josh lui annonce qu'Harriet est morte*
Rick veut savoir qui est coupable : Josh 1’ignore. II lui fait ega~
leinent part des accusations de la nroprietaire qui le croit coupable
d’avoir battu sa fernme, peut-etre a mort, quelques instants auparavant
II veut orevenir la nolice, mais Rick lui fait remarquer qu’il se
trouve pris dans un filet de oreuves accablantes, n*ayant pas d’alibi
jusqu’a son retour a la maison : il est rentre en metro et evidemment,
personne ne pourrait se souvenir de lui. Dans son desir evident de
1 ’aider, Rick lui suggere de se debarrasser du corps, ce qui remplit
Josh d’horreur* Rick lui dit : "les preuves sont irrefutables, il
faut absolument que nous fassions quelqne chose”; mais Josh ne fait
que murmurer qu’Harriet est morte et qu’il ne veut plus continuer a
vivre. "C’est ma fin”, s’ecrie-t-il dans sa douleur. A cet instant,
on sonne a la porte.
Rick va ouvrir et introduit Madame Burnett, accompagnee d’un
agent de oolice. Elle montre aussitot la tache de sang a ce dernier,
mais Rick prend la situation en mains et explique qu’Harriet s’est
coupee en cousant* La proprietaire demande comment cela est possible
etait-il avec elle ? Rick repond qu’Harriet est montee chea lui pour
se faire panser, mais la propriStaire n’y voit qu’un autre mensonge,
car, dit-elle, Herriet n’aurait pas eu le temps de monter* Elle exige
qu’on lui montre le corps; Rick affirme avec vehemence qu’elle est
endormie dans la chambre a coucher, mais Josh 1’implore de ne plus
Resume
- 5 -
mentir. “Ma femme est mortey dit-il a Madame Burnett et a l 1 agent de
police, “je l’ai vue, froide, etendue sous ...." ; et tandis qu’il
s*apprete a leur montrer le divan, Harriet, en chair et en os, surgit
de la chambre a coucher, belle et composee, avec, bien en vue, un
pansement entourant sa main. Stupefaite, mais se rappelant ce que
Josh venait de dire, Madame Burnett saute sur 1*occasion et repliquant
quelle pourrait n’etre qu’une soeur jumelle d’Harriet, veut regarder
sous Id divan. Harriet s’y assied rapidement et lui coupe le chenin.
L 1 agent de police met fin a la scene en reconduisant Madame Burnett
a la porte : il est evident que Madame Reynolds est vivante et que
1‘affaire est close. Madame Burnett, encore mefiante, s‘en va a
contre-coeur, Rick les suit, iaissant Harriet et Josh seuls.
Grandement soulage, Josh embrasse passionnement Harriet.
Puis, son expression s’altere : comme elle est froide i "Laiss‘e-moi
allcr te cherchor un chale", la prie-t-il; mais elle repond : “Non,
je n‘en ai plus besoin". Josh est cependant soulage et propose d’al-
lurner le gateau sans plus attendre. “Non*’, replique-t-elle, “je l*ai
allume plus tot". - “As-tu fait un voeu ?", demande-t-il presque
gaiement - "Oui", opine-t-elle - “Se realisera-t-il ?“ .mais elle
reste silencieuse. Cependant, comme il insiste, elle repond, avec une
gaiete empruntee : “Il ne se realisera pas si je t’en parle". Josh
est, dans une certaine mesure, content de ce qui vient d'arriver et
qu’il ait appris quelque chose d’extremement important : dans ces
quelques inst a nts epouvantables ou il la croyait morte, il a compris
Resume
- 6 -
que la vie, pour lui, n'avait plus aucun sens# "Je ne peux vivre
sans toi", declare-til. Frappee par ces mots, Harriet l'implore :
"Josh, ne dis JAMAIS cela". Josh le lui promet, en soulignant toute-
fois la veracite de ses paroles. "Je le sais maintenant", lui repond-
elle. Elle ajoute qu'elle aussi vient soudainement d 1 avoir une Stran¬
ge revelation : s'il n ! etait plus a elle, s’il lui etait enleve, comme
elle serait affreusement esseulSe J Lui, soulage, rit et lui affirme
qu*il est a elle, ce soir, demain, toujours..... Harriet fris sonne
comme si eHe Stait soudain exposee a un courant d 1 air. Josh, pendant
ce temps, comme epuise, s 1 affale sur le divan et Harriet, compatissante,
l*endort au son d*une berceuse qui se termine par les mots : "Je t’aime
fidelement, a jamais.
Elle se releve, place les mains de Josh sur l*oreiller et
s’assied aupres de lui. Tandis que le rideau tombe, son visage
reflete une tristesse infinie.
SCENE III SCENE III
La scene debute dans une atmosphere d* extreme gaietej le
tableau represente le patio d*un petit cafe-restaurant du quartier,
"Chez Alberto", ou Harriet et Josh se sont rencontres pour la premiere
fois.. C’est egalement le lieu mentionne dans la Scene I, lors de
leurs preparatifs a cette soiree d’anniversaire qui se repete chaque
annee. Quelques personnes dansent et Alberto, a la fois proprietaire
et garqon de table, se demene dans la salle. Entrent Harriet et Josh,
Resume
- 7 -
bras dessus, bras dessous, rayonnants de bonheur, Alberto, qui les
attendait, les fait valser vers leur table et, comme d'habitude, leur
apnorte du ehianti. Josh fait remarquer a Harriet que son pansement
a glisse, II le defait et ltd. montre, en riant, qu’il n’y a aucune
trace de sang; ce n’est done qu’un faux pansement i Harriet faisant
1'innocente, pretend ne pas comprendre. Mais Josh semble gouter la
plaisanterie et affirme avoir compris les intentions d’Harriet qui
probablement voulait le mettre a I’epreuve, II lui demande de s’ex-
pliquer, mais elle rejette ses questions ; "Les explications m’ennuient",
dit-elle* II veut neanmoins savoir comment elle est sortie de dessous
le divan; en riant, elle lui explique qu’elle en est simplement sortie
en rampant, pendant qu’il discutait avec Rick de ce qu’il fallait
faire du corps, Aux denegations de Josh, Harriet repond : "Tant mieux,
autrement,je ne serais jamais revenue". Josh rie de cette legon, des-
tinee, decide-t-il, a lui faire passer l 1 usage des phrases grandilo-
quentes telles que "Je t’aime a jamais", a moins qu’elles ne soient
dites avec sincerite,
Tandis qu’il danse avec Harriet, elle lui nurmure : "0 J Josh,
comme e’est beau ici, dans ce Monde i.«qui voudrait done jamais le
quitter " - Oui, continuer a denser ainsi, sans arret avec lui J Puis,
elle remarque quo cette soiree est irreelle, "fantomatique", - "Lais
tu n’es pas un fantome", proteste-t-il, "tu peses toujours tes £0 kilos",
continue-til en la soulevant, "les fantomes ne pesent que 100 grammes J"
Sur quoi, Harriet, devenue plus enjeuee, affirme que certains fantomes
Resume
se sont completement materialises et elle en donne des exemples :
l 1 agent de police qu’ils virent ce soir la est un agent tue des annees
auparavant; il aime simplement flaner dans le quartier. Bile mentionne
egalement Ben Weiss, le marchand de tabac, un autre exemple de fan tome
totalement materialise.
Alberto ayant apporte le gateau et 1*ayant allume, Harriet
se rassied avec Josh et en battantdes mains, s'exclame : "Cornme c’est
joli, cornme c'est joli J". Trois hommes apparaissent et chantent les
plaisirs de "Chez Alberto ".Sous leurs fausses moustaches, on reconnait
Pat, 1‘agent de police, Ben Weis et Alberto. Harriet semble les
connaitre tous par leur prenom, ce qui surprend un peu Josh.
Josh profile de cette soiree autanb qu’il peut. Cependant,
apres leur chanson, gauchement, cornme s l ils apportaient de mauvaises
nouvelles, Pat et Ben viennent parler a Harriet. Pat lui dit qu»elle
a oublie quelque chose5 Ben ajoute : "Ils finiront par vous trouver un
jour"., Dans un acces de soudaine douleur, Harriet se cache le visage
dans ses mains. Pat insiste que les preuves sont bien convaincantes :
le tisonnier porte en effet les empreintes de Josh. Ben suggere qu’elle
aille voir Rick qui l’ecouterait si elle savait comment l'aborder.
Accablee de douleur et ne voulant pas se separer de Josh, Harriot refuse
de partir. Apres avoir tout essaye, Pat et Ben s r en vont tristemo t
en haussant les epaules.
Les bougies du gateau se sont cteintes, les clients ont tous
quittS le cafe ou r&gnent maintenant la solitude et l’obscurite. Josh
Resume
- 9 -
reclame une dernicre danse a Harriet, quoique la joyeuse musique se
fut arretee et qu’une terrifiante musique sepulcrale l’eut remplacec.
Ils dansent, mais Josh se trouve pratiquement oblige de porter Harriet
qui finalement s’eerie : "Arrete l arrete I ". II s’execute en lui
disant : "ChSrie, tu as si froid, tu es glac&e .”’ Soudain, cloue err
place, il voit Harriet reculer avec grand effort et tandis qu’elle
s’estompe dans la distance, elle lui repete i "Aime-moi, Josh, aime-
moi toujours*•... ,f Lorsqu’elle disparait. Josh se ressaisit et se dlrige
peniblement dans sa direction. Mais il est trop tard. "Harriet,
Harriet", s’eerie-t~il, mais elle a disparu ...... et le rideau tombe
lentement sur de presque completes tenebres.
SCENE IV SCENE IV
Heme apnartement que dans les Scenes I et II.
Josh est assoupi sur lc divan, exactement dans 3a meme posture
qu’a la fin de 3a scene II. La proprietaire, apres avoir sonne, s’in-
troduit furtivement dans 1’appartement au rnoyen de sbs nropres clesj
a la main, elle porte son alibi : des chiffons et un seau d’eau qu’elle
a 1’intention d’utiliser dans le cas ou elle serait docouverte. Son
but reel est de voir si le corps d’Harriet se trouve vraiment sous le
divan. Elle essaie d’y jeter un coup d’oeil, mais Josh l’effraie en
remuant dans son sommeil. La sonnerie de la porte retentit de nouveau
avec insistance. Cette fois-ci. Josh s’eveille, msis n^aperQoit pas
Madame Burnett qui se cache hativement dans un placard de 1’entree et
Resume
- 10 -
voit ainsi sa retraite coupoe. Josh va ouvrir : c*est Rick, la terreur
peinte sur son visage* II s’adosse a la porte, corame pour empecher
un poursuivant d’entrer. Josh veut savoir ce qui se passe et Rick lui
dit qu 1 Harriet se trouve sur le palier d'en haut, u Elle est horrible
a voir", dit Rick en s'enfouissant le visage dans ses mains. Josh
s’elance dehors, mais ne voyant rien, pense que Rick perd la raison,
Ceoendant, Rick insiste qu’IIarriet est la-haut et qu'&le se glisse
peniblement le long dos marches*La porte du placard s ’entr ‘ouvre, in«
diquant que Madame Burnett ne oerd pas un mot de ce qui se dit, Rick
avoue aL ors avoir assassine Harriet et que 1 1 epouvantable fantome de
cette derniere le poursuit en rampant sur les marches, "Ce n'est plus
un etre humain”, s’ecrie-til, n ce que j'ai fait etait inutile”, ajoute-
t-il, ”le gateau etait empoisonne et vous aurait tues tous deux en
moins d*une heure". Josh, le croyant fou, le secoue et lui ordonne
de s*expliquer, Rick raconte comment il a tue Harriet a coups de
tisonnier. Josh lui rappelle qu’ils l'ont tous vue vivante, mais
Rick lui dit : ”Ce n’etait deja plus Harriet,,,,Josh, dont 1*agi¬
tation s'accroit, lui repete qu’il est fou; mais lui meme croit main-
tenant entendre des pas lourds qui descendant l ! escalier, quoique
auparavant il n*y eut rien vu, Rick explique qu*Harriet 1‘a envoy©
chez Josh afin qu*il avoue son crime, car M il s *y trouve un temoin”,
Madame Burnett en 1 Occurrence. Josh aperqoit la porte du placard
qui se re feme 1 la hate et pense y trouve r Har rice qu. : il suprlie de
sortir, mais Madame Burnett, folle de terreur, en surgit et s'enfuit
Resume
- 11
en emportant son seau et ses chiffons.
Rick fait part a Josh de son amour pour Harriet, lui demande
son pardon et s’enfuit en sanglotant. Laisse seul, Josh s'approche du
gateau. II cemprend maintenant l'horreur de la situation. Son esprit
se retirant de la realite, il chantonne une petite chanson dans laquelle
il est question d’un gateau empoisonne et qui s’acheve par ces mots :
“Patissier, patissier, peux-tu nous faire un gateau empoisonne ?“
II revient a la realite et, pris de panique au souvenir des
paroles de Rick, il fouille 1*apnarternent et s*apprete finalemcnt a
deplacer le divan, repetant ses gestes de la Scene II.
Harriet est la, gisant exactemont au meme endroit ou Rick
l’avait laissee lorsqu’il avait repousse le divan a sa place.
“Harriet, Harriet”, s*ecrie Josh. Il essaie de placer les bras de sa
femme autour de son cou, mais ils retombent mollement. En effet, elle
est morte. Elle etait probabloment morte des lc debut. Son visage est
mortellement pale. Soumis a 1*inevitable. Josh annonce : “Harriet est
morte“. Il replace les bras de sa femme le long du corps, puis aper-
cevant lc gateau allume, il s'en aporoche, saisit un couteau et lit
^inscription : “Je t‘aime a jamais' 1 .
Le son des cuivres dine musique populaire retentit soudain par
la porte laissee ouvorte apres la sortie hative de Rick. Josh va la
fermer, s'iaolant ainsi du monde exterieur. Il revient au gateau, en
decoupe une tranche et, tandis que le rideau tombe, l 1 on comprend que
Josh va manger de ce gateau empoisonne «>.♦. et rajoindre Harriet qu’il
aime passionneitient.
FIN
L E V 0 E U
Opera en Un Acte et Quatre Tableaux
Livret et Musique
de
GEORGE ANTHEIL
PERSONNAGES
Harriet Reynolds , jeune epouse de Joshua Reynolds ..,......... SOPRANO
”Josh” Reynolds , son jeune mari ......... BARYTON
"Rick tT Daggert , peintre, aini d'enfance de Josh ... TENOR
Mme Burnett , la proprietaire, megere d’un certain age ...... SOPRANO
Pat, 1*Agent .... BASSE LEGERE
Alberto , proprietaire du Cafe ”Chez Alberto” ... BARYTON
Ben Weis , le marchand de tabac ..TENOR
1
SCENE I
HARRIET : Une boJte d’aquarelles l Et un bracelet en diamants ,,, du
Prisunic* Exactement ce que je voulais.
JOSH : Une boite de ’’Petit Chimiste’’ i Exactement ce que je dSsirais.
HARRIET : 0 Josh, 0 Josh, pense done* Quatre annSes sublimes ...
ensemble. Notre premiere rencontre, il y aura quatre ans ce soir ...
JOSH : Je te revois encore, chez Alberto. Je me suis aporoch6 de ta
table en demandant j ”Me permettez- vous de m’asseoir ?”. II y avait
beaucoup de monde ce soir la.
HARRIET s Ca, ce n’est pas vrai, ch£ri l Hals je t’ai laisse t’asseoir.
Nous y sommes restes pendant cinq he vires, jusqu * a la fermeture.
JOSII : Jusqu’a la fermeture. Qui dit qu’il n’y a pas de ’’coup de foudre”?
HARRIET : Puis, 1’annee suivante, nous y sommes restes encore cinq
heures.
JOSH { Nous avons command^ un gateau d'anniversaire, tu te rappelles ?
Avec une bougie* Nous n*avions chacun qu’un an. Nous n’avions meme
pas commence a vivre...
HARRIET : 0 Josh, comme e’est vrai i
JOSH : Et I’annee suivante, un gateau avec deux bougies,
HARRIET : Te souviens-tu de ce deuxieme anniversaire ? Pour celui la,
nous avons eu le premier gateau special, Te rappelles-tu 1*inscription?
JOSH : Mais naturellement. ”Je t’aime a jama:.!'. Je t’aime a jamais -
e’est ce que tu m’as toujours dit.
- 2-
HARRIET : L’annee derniere, notre gateau avait trois bougies et ^ins¬
cription disait : !, Je t’aime plus que la Vie”, C’est ce que tu n’as
toujours dit . Cheri ...
JOSH : Oui, Harriet •••
HARRIET : Crois-tu vraiment que nous nous aimons tant que cela ?
Au-dela de la vie ? A jamais ? Je sais qu’il n’y a pas de doute en ce
qui me concerne. Je sais maintenant que je t’aLmerai toujcurs.
JOSH : Je le sais aussi.
HARRIET ; Cheri J
JOSH : Harriet J. * As-tu commando le gateau pour ce soir ?
HARRIET : Non, pas encore. Mais je le ferai aussitot apres ton depart.
As-tu reserve la meme table Chez Alberto ?
JOSH : Je l’ai commandee hier pour ce soir.
RICK : Joyeux anniversaire, vous deux i
JOSH : II nous a apoorte notre gateau •'
RICK : II lui manque quelque chose. Je ne me souviens pas de la
phrase cabalistique que v>us faites toujours inscrire ....
HARRIET : Je m’occuperai de cela. J’ai ce qu’il faut
RICK ; Maintenant, c’est presque pret.
JOSH : C’est bien chic de ta part, Rick, de t'en souvenirj merci l
Eh bien, il faut que je m’en aille. A ce soir l
HARRIET : A ce soir J
- 3 -
RICK i Non 4 Non J
HARRIET : Pourqtioi ? II est empoisonne ?
RICK : Vous 1 ! abimeriez i C*est oour ce soir. Pour vous et Josh
ensemble 4 Vous l^allumerez d'abord, ensemble, vous ferez un voeu,
puis , vous le mangerez.
HARRIET : All 4 C’est pour nous deux cette fois 4 Sh bien 4
RICK : Je ne coraprends pas.
HARRIET : II etait terps que vous essayiez de nous empoisonner tous
les deux 4 Vous avez essaye assez longtemps d'empoisonner Josh 4
RICK : Je ne comprends pas ce que vous voulez dire 4
HARRIET : Vous comprenes tres bien 4 Et de plus, vous saviez que
j*avals compris depuis hier. Quand vous m r avez vue prendre du frigi-
daire le verre de lait que vous lui aviez apuorte et le rer,placer
par un verre de lait que j’avais verse moi-meme. Je vous ai alors vu
me regarder et vous dire : u Mon Dieu, elle sait 4 • Elle sait enfin 4
Tout est clair maintenant 4 Toutes les violentes attaques qu’il a
eues commencent a s*expliquer. Je sais ou vous voulez en Venir.
Chaque fois, c f etait quelque chose que lui seul pouvait manger et
pour laquelle j*avais une allergie : des fraises, des crevettes et du
fromage blanc. Alors,maintenant que vous savez que j’ai compris,
pourquoi ne pas nous empoisonner tous les deux ? Vous comprenez, bien
sur, que je vais le dire a Josh maintenant, n’est ce pas ? Et bientot 4
RICK 5 Le gateau n ! est pas empoisonne, Harriet, je le jure 4
- h -
HARRIET : Vous mentez • ••• demiis que je vous connais, Vous pretendiez
vouloir que je sois votre soeur, votre camarade, votre mere-confidente.
Et j*etais assez stupide pour le croire, Apres tout, vous ctiez son
meilleur ami. Pour quo i avez-vous fait cela ? Pourquoi avez-vous
fait cela, Rick ?
RICK : Je n f osais pas vous le dire, Harriet, raais je vous airne* Je
vous aime J Je pensais que s’il n’etait plus la, j‘aurais des chances
aupres de vous,
HARRIET : Vous ? Vous pensiez cela ?
RICK : Oui; je me leurrais j
HARRIET : Mais Rick , •. • pourquoi ne me 1*avez-vous pas dit il y a des
annees .... au lieu de tout cela maintenant i
RICK : J'avais peur que vous vous moquiez de moi J Alors, j’ai tenu
bon autant que j’ai pu.
HARRIET : Et en attendant, vous avez essaye de tuer votre meilleur
ami, Josh } Votre vieil ami, presque votre seul ami i Riel:, pourquoi
ne me l»ave 2 -vous pas dit plus tot ? J*aurais pu vous tirer de la il
y a des annees J
RICK : Pour des personnes comme moi, il est parfois plus facile d’rgir
que de parler. Il faut beaucoup de courage pour commettre un meurtre*
HARRIET : Avec du poison 4 C *est une arme de femme i
HARRIET : M Jolie, jolie flammej qui brille, qui brille; exauce mon voeu
ce soir I”•••••«... Mon Dieu, accorde-moi mon voeu ce soir j
RIDEAU * FIN DE LA SCENE I
SCENE II
- 5 -
Mme BURNETT : Monsieur Reynolds 4 Monsieur Reynolds 4
JOSH : Quoi ? Qu*est-ce qui se passe, Madame Burnett ?
Mme BURNETT : Comme si vous nele saviez pas 4 Votre femme, Madame
Reynolds, vient d'ameuter tout le quartier.
JOSH : Elle n’aurait jamais fait cela 4 Que me racontez-vous la ?
lime BURNETT : Je 1‘ai entendue 4 Et la dame du premier aussi l‘a
entendue• Madame Reynolds criait et hurlait, oui, hurlait 4
JOSH ; Ma femme ? Quand ?
Mme BURNETT : II y a trois minutes 4 iMallez pas me raconter que vous
n'etiez pas la il y a trois minutes i
JOSH : Non, je n*etais pas ici. Qu‘ a dit la dame du premier ?
Mme BURNETT : Comme si vous ne le saviez pas 4 Elle hurlait : H Au
secours, au secours 4 on m r assassine, on m'assassine 4 n
Mme BURNETT : Du sang /
JOSH : Harriet 4 Harriet i Mon Dieu 4
JOSH : Rick, Harriet est morte 4
RICK : Qui l»a tuee ?
JOSH : Je ne sais pas*
RICK : Je sors appeler la police. Non 4 Voyons d'abord ce qui s’est passe*
JOSH : Je ne sais pas* Je suis rentre il y a cinq minutes. J'avais a
peine ouvert la porte que Madame Burnett est entree et m'a accuse, c'est
tout au moins ce qui m'a semble, d' avoir battu Harriet. Elle a dit que
la femme du premier 1 *avait entendue hurler : "Au secours, au secours l
on m'assassine J" Je pense qu'elle me croit coupable*
RICK : Comment es-tu rentre ? En autobus, comrae d f habitude ?
JOSH : Non Non .' J'ai pris le metro. Je voulais rentrer plus tot i
RICK : Grands dieux, Josh Le metro n'est pas un alibi. Le metro
n'est pas un alibi. Voyons ..... je ferais mieux de ne pas telephoner
a la police. Pas encore.
JOSH : Harriet, Harriet, tres chere i Non, ce n*est pas possible i
RICK : Ressaisis-toi, mon vieux. Tu es dans une mauvaise situation.
Je vais t ! aider. D f abord, remettons cela en place. Nous allons nous
debarrasser du corps.
JOSH ; Non, non. Je n*en ferai rien J Vas prevenir la police. Quelle
importance cela peut-il avoir maintenant l
RICK : Josh, reflechis done } Ils te tiennent. Les preuves sont
accablantes. II faut absolument faire quelque chose ....
JOSH : Laisse-moi J Harriet est morte et je ne peux penser a rien
d*autre. Et que cela arrive ce soir l Ce soir J Qu'iraporte ce qui
m 1 arrivera i Appelle la police i
RICK : Je juperai que tu etais aVec moi.
JOSH : Je ne veux plus vivre. C'est la fin J
Ike BURNETT s Vous voyez, Monsieur 1'Agent, dn sang i
RICK : Et alors, Iladame Burnett ? Madame Reynolds s’est coupee avec
dos ciseaux, en cousant*
lime BURKETT : Qu’en savez-vous ? Etiez-vous ici ?
RICK : Non J Elle est montee pour que je lui fasse un pansement.
Mine BURNETT : C'est un mensonge J Elle n'en aurait pas eu le temps,
Ce sont des amis tres proches, lui et Monsieur Reynolds* Pour le
sauver, il dirait n'importe quoi J Ou est le corps ?
RICK : Harriet ? Elle dort dans la chambre a coucher 1
JOSH s Non, non, Rick, a quoi bon ? Ne ments pas pour moi. Ha femme
est morte. Je l'ai vue, assassinee •••« assassinee •' Je l’ai vue,
toute froide, gisant sous •••••••••
HARRIET : Mesdames et Messieurs
I'AGENT : Bon, et bien, je crois que l 1 affaire est classee. Et si
1’on s*en allait, maintenant ?
Me BURNETT : Mais il a bien dit avoir vu sa femme assassinee l Je
parie que • ••• Madame Reynolds .... a une soeur jumelle i
RICK : Madame Burnett, vous avez lu trop de romans policiers l
Mme BURNETT : Je parie qu’elle est sous le divan, assassinee. Je parie
qu’elle est la i ...
HARRIET : Madame Burnett, ne me reconnaissez-vous done pas ? Je suis
la seule et unique Harriet Reynolds l
lime BURNETT : Bon.. # . c’est bien vous J...
L'AGENT : Allons, venez, Madame Burnett,,
- 8 -
JOSH : Cherie, cherie J Maintenant je sais pourquoi je t’aime tellement
Je ne peux merne pas oenser a vivre si tu n’es pas la pour m*aimer,
Cherie, tu m’as sernble etre toute froide quand je t’ai embrassee, il
v a quelques instantsJ Je vais te charcher un chale • •••
HARRIET ; Non, je n’en ai plus besoin.
JOSH : Cherie, te sens-tu bien ? Que n’oses-tu pas me dire ? Pourquoi
me regardes-tu si tristement ? Dis le moi, je te pardonnerai avec joie,
JOSH : Allumons le gateau maintenant,
HARRIET ; Non, je 1’ai deja allume plus tot,
JOSH : As-tu fais un voeu ?
HARRIET : Oui.
JOSH : Se realisera-t-il ?.........
Quel voeu as-tu fait ?
HARRIET : II ne se realisera pas si je te le dis. Laisse-moi garder
rnon secret pour ce soir,
JOSH : Dans un sens, je suis content de tout ce qui vient d'arriver.
Cela m’a appris quelque chose d’extremement important, quelque chose
que je me rappelerai toujours : je t’aime vraiment plus que la Vie, oui
plus que la Vie i Pendant ces quelques moments terriblcs ou j’ai cru
t»avoir perdue a jamais, j’ai compris que la vie n'avait plus aucun
sens sans toi, Je ne peux vivre sans toi i
HARRIET : Josh, ne dis jamais cela l
JOSH : Bon, je ne le dirai olus, Hais tu sais que je le pense ?
HARRIET : Je le sais maintenant,
JOSH : Pour toujours ?
HARRIET : Pour toujours i 0* Josh, je t’aime tellement l J*ai egale-
rnent compris soudain quelquc chose. Voila ; si je ne peux pas t r avoir ••<<.
si tu m'es enleve d’une faqon ou d’une autre •••• comme je serai seule,
terriblement seule i Je ne sais pas ce que je ferai J
JOSH : Mais tu m ! as i Surtout ce soir J Ce soir, ce soir entre tous i
HARRIET : Ce soir, ce soir entre tousj Mais demain .... demain ...... ?
JOSH : Tu m*auras demain aussi .'.... et apres-demain.
HARRIET : 0, Josh, quels grands mots avons nous toujours utilises J
Que signifie vraiment ”a jamais”? Maintenant, je crois que j*ai compris
pour la premiere fois .... mais, cheri, tu es fatigue, tres fatigue,
cheri. Viens reposer ta tete sur mes genoux...
Tra-la-la-la, tra~la-la-la-la-la-la. Je t'aime a jamais.. Je t 1 aime
a jamais. Je t'aimerai toujours fideloment, cheri, toujours, cheri*......
RIDEAU * FIN SCENE II
- 10
SCENE III
AT.jRF.RTO : Ah* Monsieur ot M 1 dame Reynolds i Je vois quo vous etes
bien a I'heure J C^st aujourdUiui Le Grand Soir i
HARRIET "c JOSH : Eli oui,nous ne voudrions pas etre en retard pour
tout 1 ‘or du monde i
ALBERTO : Du chianti ?
JOSE ; Oui, du chianti, comme d'habitude J le meme J
HARRIET : Oui, le meme J H * est-ce pas merveilleux Tout est pareil,
comme toujours i Puissc tout cela ne jamais, jamais changer J
JOSH : Oh Harriet, ton nans erne nt glisse J • ••« Et pas une goutte de sang.’
HARRIET : Pas de sang ?
JOSH : Pas de sang J Ne penses-tu pas que tu ferais mieux de t’expliquer ?
HARRIET : Ch, les explications sont tres ennuyantes J
JOSH : Celle-ci no le sera pas • •• pour moi, du noins. Allons, raconte.J
Comment as-tu disparu ? As-tu rarnpe de dessous le divan jusque dans la
chambre a coucher ? Comment es-tu entree dans la ehambre ?
HARRIET : Oh, qa ? Ce n'etait rien J C’etait vraiment si facile,
mon amour J
JOSH : Comment es-tu sortie de dessous le divan ?
HARRIET : J’en suis sortie en rampant jusqu’a la porte de la chambre*
Vous etiez tous les deux beaucoup trop occunes; vous nc m'avcz meme pas
vue former la porte. Vous ne ra'avez meme pas remarquee i
-11 -
JOSH : Ah, je comprends i Tu voulais me donner une leqon, n’est ce pas?
Tu voulais cprouver ce que je t’avais dit : ”Je t’aime plus que raa vie" J
HARRIET : Oui, c'ctait qa. Lin fait, j’etais epouvantee quand je t*ai
entendu discuter avec Rick pour savoir comment vous debarrasser de mon
corps,
JOSH : Mon l C’etait Rick, Rick tout seul. J*etais trop bouleverse
pour tonter un alibi i
HARRIET : Je m'en souviens l Je m’en souviendrai toujours i Et heureu-
sement du restc, autrement je ne seraisjamais revenue.
JOSH : ,T Jamais revenue”? Et tu m’aurais laisse avec toutes ces preuves
contre moi ? Fi, H‘dame Reynolds J
HARRIET : Pas tout a fait, pas tout a fait J .... Tout le monde danse . f
Viens danser J
JOSH : Bon.
HARRIET : 0, Josh, C*EST SI JOLI DANS CE MONDE ’ Qui voudrait jamais
le quitter ? Je voudrais que tout ceci puisse continuer eternellement,
Josh; danser ici avec toi i Te tenir contre moi i Mon tres cher
Josh i Je t’aime a jamais J Tout ceci m’est si NOUVEAU et si etrange J
JOSH : Rien n’est jamais nouveau ici. Tout est vieux et bon.
HARRIET : C’est ncuveau ce soir. Tout change. Josh. Memo cette soiree
fantomatique•
JOSH : Qu’a-t~cllo de fantomatique 7 Oh, je vois i Mais tu n’es pas
un fantome J Tu peses toujours tes $0 kilos, les fantomes ne pesent
que 100 grammes#
12
HARRIET i Oh, mais certains fantomes sont entierement materialises. H
est difficile de les distinguer des etres humains reels.
JOSH : Pas possible ?
HARRIET i Mais oui i Certains fantomes sont entierement materialises.
II y a Ben Weis, notre marchand de tabac, en bas* Eh bien, il est mort
il y a des annees.
JOSH : Ben est un fantome materialise, aLors ?
HARRIET : Oui, c‘cst vrai. Mais comment le savais-tu ?
JOSH : Je le savais deouis des anneesi
HARRIET : Alors, tu sais que Pat, 1*agent de police qui est venu cet
aprcs-midi avec Madame Burnett est aussi un fantome entierement mate¬
rialise ? Il a ete tue il y a cinq ans, Mais il aime flaner dans notre
quartier.
JOSH : Mais oui, bien sur J J*ai remarquc qu'il t‘a reconnue a
premiere vue. Mais il m‘a fait aussi un clin d*oeil a moi .
HARRIET : 0, comme c‘est joli, comme c’est joli l
JOSH : Dois-je f aire un voeu ma ntenant ?
HARRIET : Non l
BEN, PAT, ALBERTO : Venez de toutes parts,
Venez chez Alberto,
Vous y rencontrerez surement presque toutes vos
connaissances.
Car c‘est ici qu*il faut venir,
C*est chez Alberto qu‘il faut aller,
On s*y delecte l
PAT ; Bonjour Harriet J
HARRIET : Bonjour Pat.
- 13 -
JOSH : Ah, tu le connais bien ?
HARRIET : Otii, et Ben aussi .... Bonjour J
BEN, PAT 3 AT.BERT0 : Eh oui, eh oui, c’est un cafe de reve.
Et la musique y est aussi tendre cue ses levres i
SLelle vous donne du fil a retordre,
Faites-vous servir deux grands verres maison l
D f ailleurs, Alberto ne tiont pas aux pourboires J
D*ailleurs, Alberto est un philanthrope i
Aimez-vous done, garpons et filles J
Filles, vous pouvez 1*aimer, lui faire confiance
corame a un frere.
Gar pons, ne lui dites pas ,f Vous me rappelez rna mere"
Nous mettrons tous nos services a votre entiere
disposition,
Nous garantissons qu'elle ecoutcra votre declaration
Nous garantissons qu*elle ne dira pas M non n ,
Elle ne dira pas n non w , elle ne dira pas ''non' 1 l
BEN : Harriet, je m f excuse «...
HARRIET : Qu»y a-t-il, Ben ?
PAT : Vous avoz oublie quelque chose ••••
BEN : Vous savez, ils finiront par vous trouver. Ils finiront par vous
trouver un jour ou 1 ! autre.
PAT : Le cas est bien clair ... Les empreintes de Josh sont sur ].e
tisonnier i
HARRIET : Oh, j'avals oublie j
BEN : Pat et moi en avons parle i Vous feriea mieux d*aller le voir*
ALLEZ VOIR RICK i II vous ecoutera I II vous ecoutera si vous savez
COMMENT l’aborder.
HARRIET : J*en doute. Que puis-je faire ? Je ne veux pas quitter
Josh •»••••*•»
JOSH : Encore une derniere danse ? Harriet, je t'en prie
HARRIET : La musique s*est arretee.
HARRIE T ; Arrete, arrete i
JOSH : Bien sur, bien sur, Chorie, tu es si froide J Froide comrne de
la glace J
HARRIET : Aime-moi, Josh i Aime-moi toujours, Josh, bien-aime i
JOSH : Harriet i
RIDEAU * FIN SCENE III
SCENE IV
JOSH : Hein ? Quoi ?.
Oh, la sonnette i Attendez, attendez done l ......
RICK : Josh, il faut quo je te dise....... II faut que je te disc ...
JOSH : Qu'y a-t-il, Rick ?
RICK * Elle me force .... a .... te .... dire .... Je dois «... elle
est sur le palier d*en haut J Elle est en train de descendre i Josh
non, je t*en prie i
JOSH : Quoi ? quoi ?
RICK : Elle est horrible a voir i
JOSH : HARRIET J
RICK : Ce n’est plus un etre humain i
JOSH : II n ! y a personne J Elle est probablement dans la chanbro a
coucherj allons voir.
RICK : Je te dis qu 1 elle est la-haut 2
JOSH : Elle n*y est pas 2
RICK i Tu n’as pas assez bien regarde 2
JOSH : Elle n*y est pas 2
RICK : Je l*ai vue, rampant peniblement ..... elle va venir ici 2 Je
suis perdu, je suis perdu 2
JOSH i Rick, Rick, dis-moi ce qui s’est passe.
RICK • Je l»ai tuee, voila 2
JOSH : Quoi ? Quoi ?
- 16 -
RICK : Je l’ai tuee, je l’ai tuee 4
JOSH : Rick, tu es fou 4
RICK : Oui, jo l’ai tuee j
JOSH : Rick 4
RICK t C’est vrai i
JOSH : Mais tu vas t’expliquer J
RICK : Je n’avais pas besoin de lc faire 4 Le gateau Stait empoisonne
et vous aurait tues tous Des deux en moins d’une heure.
JOSH : Expliquc-toi, explique-toi 4
RICK : Je l’ai tuee 4 Je l’ai frappee sur la tete avec le tisonnierj
j’ai entondu craquer son crane, et puis, j’ai traine son corps derriere
le divan*
JOSH : Tu es fou 4 Nous l’avons tous vue, apres i TU l’as vue,
1’agent de police I’a vue, Madame Burnett l’a vue et mol, je l’ai vue J
JOSH ; Elle se portait bien alors, elle se porte bien maintenant J
RICK : Oui, je l’ai cru aussi 1 Mais, CE N’ETAIT PAS HARRIET J
JOSH : Qu’etait-ce alors ?
RICK : C’etait QUELQUE CHOSE. Mais PAS Harriet 4
JOSH : PAS Harriet ?
RICK : Ce n’etait PLUS Harriet i
JOSH : Tu es fou j II n’y a personne sur le palier l
RICK : HARRIET J Elle descend l’escalier .i Ne l’entends-tu pas ?
Comme ses pas sont lourds 4
- 17 -
JOSII : Non, je no la vois pas i Tu os fou, Rick I
RICK : Elio se traine lcntomentiji peniblement* Elle m'a dit : "Avoue,
avoue J II y a un temoin."
JOSH i Tu es fou, Rick, ecoute i
JOSH : Harriet ? Je t*en prie, Harriet cherie, sors de ce placard*
S*il te plait, assez d J epreuves pour aujourd'hui l
Mmc BURNETT : Je ne faisais qu’enlever la tache de sang J
RICK : Je 1‘aimais, mais je I’ai tuee. Maintenant, je me suis un oeu
rachcte J Madame Burnett a entendu mon aveu. C ! est ce qu’elle voulait
que je fasse* Maintenant, c’cst fait. Je I’aimais* Pardonne-moi Josh.'
JOSH : Patissier, patissier,
Vcux-tu nous faire un gateau empoisonne ?
Fais le haut, fais le leger.
Car ce soir, car ce soir
Nous celebrons J
Allons, nous ne pouvons pas otre en retard i
Patissier, patissier, dis-moi franchement
Pourquoi est-ce que je ne t'aime pas ?
Paroles magiques pour elle
Rick nous a fait un gateau empoisonne.
Paroles tragiques pour moi.
Pour elle
~ 13
Tragique, tragique erreur ?
Coeur souffrant, coeur brise ?
Patissier, patissier,
Peux-tu nous faire un gateau empoisonne ?
QU<EST-CE QUE RICK A VOULU DIRE ?
Harriet l Harriet i
Harriet est morte i
Je t'aime a jamais i A jamais J
RIDEAU * FIN DE L 1 OPERA
THE WISH,
RADIO OPERA IN ONE ACT
AND FOUR SCENES
BY GEORGE ANTHEIL
REVISED LIBRETTO.
George Antheil
8161 Laurel View Drive
Hollywood 46, Calif.
THE WISH.
SCENE ONE (SYNOPSIS)
Harriet and Joshua Reynolds are a young American married couple,
utterly in love with one another. They live together in a small apartment
in that quarter of New York called Greenwich Village. The opera opens
upon the morning of an important celebration for them. It is the
anniversary of the night, four years ago, when they first met one another
at a local cafe, "Alberto’s''. They always celebrate this day in the same
way; fir3t of all they make one another small inexpensive presents, more
as a joke than anything else; then they have a cake made with an in¬
scription such as "I Love You Forever" or "I Love You More Than Life",
with as many candles as years---this year the cake will have four
.andles. And, at night, they celebrate again at the same table at
Alberto's where they originally met. It is a charming little ritual; and,
as the curtain rises, they both bounce out of the bedroom, to unwrap the
presents both have left for the other the night before. They talk about
the inscription which will go upon their anniversary cake this year,
"I Love You Forever. " Harriet, suddenly serious, asks Josh "Do you
really believe that we love one another that much? Beyond life?
Forever?" She says that she knows she does; and Josh says that he
knows it too.
Josh is about to get ready to go off to work when his best friend,
his boyhood friend, Rick Daggert, comes in with a box which, when
opened, proves to be the cake which, otherwise, Josh was going to
order on his way to the office. Josh thanks him deeply, and leaves for
the office. Alone with Rick, Harriet takes a kitchen knife and poises it
above the cake, as if she were going to cut it. Rick stops her, saying
that it is for tonight; she will spoil it. Harriet asks him, coldly,
"why, is it poisoned?" Rick first pretends not to understand but, as
she tells Rick that she has recently become aware that he has been
trying to poison Josh, he breaks down, admits that it is true, and that
he has been trying to do so because he is so in love with her, Harriet.
Incredulous, Harriet asks him why he did not tell her all this a long
time ago. "I could have gotten you out of this" she tells him in a
rather sympathetic and sisterly way. With strange emphasis, however,
Rick tells her that "for people like me it is sometimes easier to do than
to talk. It takes a lot of courage to attempt a murder! " This antago¬
nizes Harriet again, and she answers "With poison. . . . that's a woman's
way. " Rick, unable to take this taunt, gets up and runs out of the
apartment, leaving Harriet alone. She looks at the cake with four
candles, and has an idea. She will make a wish. She lights them, prays
that her wish might come true, and blows-but, alas, only three of them
go out---which means that she will not get her wish. The curtain falls
as she looks at the cake and the one remaining burning candle with a look
of the deepest disappointment.
SCENE TWO
The curtain goes up on the same apartment, but now it is evening, around
seven thirty. There is an agitated strange feeling in the air. Josh comes
home, looks about for Harriet, picking a poker from the floor and putting
it back at the fireplace. A landlady, Mrs. Burnett, bursts in and accuses
Josh of beating his wife. Astonished, Josh asks her why. Mrs. Burnett
says that only three minutes ago she heard Mrs. Reynolds screaming
that she was being murdered; obviously she believes that Josh was the
culprit. Josh, alarmed, looks through the apartment, while Mrs. Burnett,
gazing at the floor, discovers a blood 3pot, and runs out of the apartment.
Josh decides to signal Rick, who lives in the apartment upstairs, to come
down to help him find Harriet. He does this by knocking on the radiator
pipe; and an answering signal comes from Rick, upstairs. Before Rick
arrives, however, Josh discovers Harriet, apparently dead, spread
out beneath the divan which he has moved away in his search. He tries
to revive her, listens inexpertly to her heart, believe that she is dead.
Page 2 of Synopsis.
As he kneels there, in agony, Rick comes in, 3tands transfixed.
Josh tells him that Harriet is dead. Rick wants to know who did it,
and Josh says he doesn't know. He also tells Rick about the landlady
who obviously believes that he. Josh, was guilty of beating his wife,
perhaps mortally, only a few moments ago. He wants to inform the
police, but Rick points out to him that he is caught in a terrible web
of circumstantial evidence, for he has no alibi for his progress back
home-he came back on the subway in which he surely would never
be recognized by anyone. Rick, apparently in the spirit of helpfulness,
suggests that they get rid of the body, but Josh is horrified by this.
Rick says "the circumstantial evidence is overpowering; we've GOT to
think of something" but Josh only murmurs that Harriet is dead, and
he no longer wants to live. "I'm finished!" he cries in anguish. At
this moment the door buzzer rings.
Rick opens the apartment door, admitting Mrs. Burnett and a
policeman. Mrs. Burnett immediately shows the policeman the blood
spot. Rick now becomes master of the situation. He explains that
Harriet cut herself while sewing. The landlady wants to know how that
could be so-was he down here with her ? Rick says that Harriet came
upstairs to have him bandage it; but the landlady says that this is a lie,
too, for there wouldn't have been time. She demands to know "Where is
the body?" Rick, stoutly protests that she's sleeping in the bedroom-
but Josh begs him to desist from lying. "My wife is dead!" he tells
Mrs, Burnett and the policeman. "I've seen her lying cold underneath. . . "
and he is about to show them underneath the divan when, suddenly,
Harriet herself appears from the bedroom door, cold and beautiful, but
with her hand swathed in a bandage, prominently displayed. Taken aback,
but remembering what Josh has just said, Mrs. Reynolds catches at
straws, says she might be a twin 3icter, and wants to look under the
divan. Harriet quickly sits upon it, and so blocks her. The policeman
quickly puts an end to all this by taking Mrs. Burnett out with him;
obviously Mrs. Reynolds i3 alive, and there is no case. Mrs. Burnett,
still suspicious, goes ungraciously; and Rick follows them, leaving
Harriet and Josh alone.
Josh, terribly relieved, embraces Harriet fiercely, kissing her.
Then he looks strange. How cold she is! "Let me go and fetch your
shawl" he begs, but she answers "no, I no longer need it. " However,
Josh i3 relieved, and suggests that they light the cake now. "No" she
protests "I've lit it earlier". "Did you make a wish?" he asks, almost
gaily. "Yes" she nods. "Will it come true" he asks, but she is silent;
however, as he insists upon an answer she says, with false gaiafy--
"it won't come true if I tell you. " Josh says that in a way he's glad all
this happened, that it taught him something terribly important----that in
those few terrible moments in which he thought she was dead he knew that
life meant nothing whatsoever to him any longer. "I cannot live without
you!" he declares.
Harriet, stricken, says "Josh, you MUST not say that!" Josh says
that if she wishes he won't say it- - -but she knows now that he means it.
And she answers "I know it now. " She also says that she had a sudden
strange realization---that if she could not have him, if he were taken
away from her somehow-how TERRIBLY lonely she shall be. He,
relieved, laughs, and tells her that she DOES have him, for tonight,
tomorrow, forever.Harriet shivers, as if stricken with a cold
draught. Josh, meanwhile, as if tired by the recent events, sags back
into the divan; and Harriet, overcome by compassion, sings him to
sleep with a lullaby, ending by "I'll love you faithfully, forever."
She gets up, placing his head upon the pillow, and a its besides
him, a look of indescribable sadness upon her face, as the curtain
slowly descends.
Page 3 of Synopsis.
SCENE THREE
The scene commences with tremendous joviality. It is Alberto's Cafe,
a little patio-restaurant nearby, and the place where Harriet and Josh
first met. Also, it is the place they referred to in Scene One, where
they planned to spend that evening's anniversary, just as they had done
every year previous. A few people are dancing; and Alberto, at once
the waiter and proprietor, is curring about. Harriet and Josh enter,
arm in arm, beaming with happiness. Alberto, expecting them, dances
them to a table, brings Chianti as per usual. Josh points out to Harriet
that her bandage is slipping and, as he takes it off, laughingly points to
her that there is no blood inside it; in other words, it’s a fraud of a
bandage! Harriet assumes innocence, pretends not to understand. But
Josh good humoredly says he understands alright-Harriet has played
a trick upon him, probably to test him. He wants her to explain, but
she tosses this off with "oh, explanations are boring." But he insists
upon knowing how she came out from under that divan (by now, of course,
he assumes that he was mistaken in believing her dead). She laughingly
says that she just crawled out from underneath it when he and Rick were
arguing as to what to do with her body. Josh protests that he had nothing
to do with that, and she says "and a good thing too, or else I'd never have
come back. " So Josh laughingly assumes that she just did all this to
teach him a lesson not to use such large resounding phrases as "I love you
forever" etc. unless he meant them. He is, as a matter of fact, almost
too anxious to believe this; indeed all this could be his wish-fulfilment
dream. He dances with Harriet, and she murmurs "Oh Josh, it's so
beautiful here on earth-who would ever want to leave it" yes, she would
like to go on dancing here, like this, with him forever. She implies that
it i 3 a "ghostly" evening; and he protests "but you're not a ghost" and he
picks her up "you still weigh 110 pounds-ghosts weigh only three ounces!"
Whereupon Harriet becomes skittish, claims that SOME ghosts are fully
materialized, up to full specific gravity, and gives instances---for instance
the policeman they saw that evening is a policeman that was shot dead years
ago, he just likes to hang around the neighborhood. She also mentions
Ben Weiss, the cigarstore man---another case of a fully materialized ghost.
Alberto has brought them their cake, lit, and she sits down again at their
table with Josh, clapping her hands and saying "How pretty, how very
pretty. "
A trio of men come out and sing a song about the enticements of Alberto's
Cafe. Beneath their false moustaches can be seen Pat the Policeman,
Ben Weiss, and Alberto himself. Harriet seems to know all of them by
their first names, which surprises Josh---mildly. He is enjoying the
evening for all it is worth. After the song, however, Pat and Ben come
over to talk to Harriet. They are awkward, as if they bring bad news.
Pat says she's forgotten something. Ben adds that "they're bound to find
you sometime." Harriet buries her face in sudden grief. Pat insists that
the case is pretty tight; Josh's fingerprints are on that poker. Ben adds
that she'd better go see Rick, he'd listen to her IF she approached him in
the right way. Harriet, grief-stricken, protests that she doesn't want to
go, she doesn't want to leave Josh. Ben and Pat leave, shrugging their
shoulders sadly; they've done their be si. The candles on the cake have
burned out, the people have left the cafe, it becomes dark and lonely
there. Josh begs Harriet for one more dance---although the gay music
has stopped and a ghostly terrifying music has taken it3 place. She dances
with him, but she is leaden, he literally has to carry her. She finally
cries "stop! stop" and he does, but says "darling, you are so cold, cold
as ice!" He now becomes transfixed, as she, with terrible effort, moves
backwards, into the distance, saying "Love me Josh, love me always."
When she disappears, Josh is released from his spell and moves painfully
after her, but it is too late. He cries "Harriet, Harriet" but she is gone,
as the curtain slowly falls on almost complete darkness.
Page 4 of Synopsis.
SCENE FOUR
It is the same as Scene One and Two, the apartment. Josh is asleep on
the divan in precisely the same position as at the end of Scene Two. The
landlady, first buzzing, then letting herself in with her own key, enters
furtively with her alibi---a pan of water and some rags---which she plans
to use in case she is discovered; her real purpose is to see if Harriet's
body is really underneath the divan. She tries to get a look underneath it,
but Josh frightens her off by stirring in his sleep. The door-buzzer rings
insistently again; this time Josh awakens but does not 3ee Mrs. Burnett,
who hides hastily in the hall closet, her retreat through the apartment
door blocked. Josh goes to open the door; it is Rick, wild-eyed with
fright. He leans upon the door, as if someone pursuing him wants to come
in, Josh wants to know what's up; and Rick tells him that Harriet is on the
upper landing. "She's awful to look at" Rick says, burying his face in his
hands. Josh runs out to look, but sees nothing, decides that Rick is losing
his mind. Rick continues to insist that she is there, crawling down pain¬
fully. The closet door opens a trifle, indicating that Mrs. Burnett is not
missing a word of all this, Rick then confesses that he murdered Harriet,
and that it is her dreadful ghost which is crawling down the stairs, after
him; "she's not human anymore". Moreover, he says, it was not necessary
"The cake was poisoned and would have killed you both within the hour. "
Josh believing that he is insane, shakes him and says "make sense, make
sense." Rick then describes how he killed him with the poker. Josh says
they all, including Rick saw her after that; but Rick says "THAT WAS NOT
HARRIET_IT USED TO BE HARRIET." Josh, increasingly agitated,
says he's crazy, but even Josh is not sure that he does not hear the leaden
footsteps coming down the stairway---though, previously, he saw nothing.
Rick says that Harriet sent him down here to confess because "There's a
Witness" down here-as, indeed, there is-Mrs, Burnett in the closet.
Josh catches a glimpse of the closet door hastily closing and thinks it is
Harriet; he goes to it, begs her to come out, but Mrs. Burnett, besides
herself in terror, runs out, gathers up her pan and rags, runs out.
Rick asks Josh to forgive him, because he truly loved her, runs out
sobbing. Josh, left alone, goes over to the cake. He knows, now, some¬
thing is wrong, terribly wrong. In complete abstraction he sings to him¬
self a little song about poison cake, ending
Baker, baker, can you bake
For us both a poison cake ?
He snaps out of his trance, and commences to lose his self-possession
entirely. He says to himself "WHAT DID RICK MEAN" and commences
to search through the apartment, finally bringing himself about to move
the divan, as he moved it in Scene Two.
There is Harriet, lying there exactly as we saw her before Rick
moved the divan back over her body. Josh cries "Harriet, Harriet, "
tries to put her arms around his neck, but they fall back listle ssly.
Yes, she is dead. She probably has been dead all along. Her face is
deathly white. With finality he says "Harriet is dead" , straightens
out her head and arms, sees the lighted cake, goes over to it, gets a
knife, reads the inscription on the cake "I Love You Forever."
Suddenly some brassy popular music comes from across the way.
Josh goes to the apartment door, still open from Rick's hasty exit, and
closes it, so closing off the world. He goes back to the cake, cuts a
portion of it; and, as the curtain falls, we know that he will soon eat this
heavily poisoned cake----and rejoin the Harriet he loves so terribly.
END OF "THE WISH 1
THE WISH
Opera in One Act and Four Scenes
Libretto and Music by George Antheil
Characters.
Harriet Reynolds, lovely young wife of Joshua Reynolds,,. . .SOPRANO
"Josh 11 Reynolds, her attractive young husband.. BARITONE
"Rick" Paggert, Jo 3 h f s boyhood friend, now an artist.TENOR
Mrs. Burnett, a ratty and not too young landlady.SOPRANO
Pat, the Policeman . .....BASS-BARITOI
Alberto, owner of "Alberto’s Cafe" BARITONE
Ben Weiss, "the cigarstore man".*...TENOR
(The part of Harriet Reynolds, beyond a few high notes which may be
lowered, is mostly in medium to lower-medium register; and may
therefore be comfortably taken by a lower-placed feminine voice, if
necessary.)
SCENE ONE
HARRIET: A box of water-colors ! And a diamond bracelet... from the
ten-cent store. Just what I wanted.
JOSH: A chemistry set; just what I wanted.
HARRIET: O Josh! Oh Josh! Just think! Four raptuous years together!
Our first meeting, four years ago tonight.
JOSH: I can still see you in Alberto’s cafe. I came up and said to you:
"May I sit down?" It was rather crowded that evening my dear ., ,
HARRIET: No, it wasn’t either, darling! But I did let you sit down.
We were there for five hours,. ..until they closed.
JOSH: Until they closed. Who says there's not love at first sight?
HARRIET: And then the year afterwards we sat there again for
five hours,
JOSH: We ordered a little birthday cake, remember? With one candle.
We were only one year old a-piece. We hadn’t even started living.
HARRIET: Oh Joshl How true!
JOSH: And next year a cake with two candles.
HARRIET: Do you remember that second anniversary! That was the
first of the special cakes. Do you remember what we have written
on it?
JOSH : Yes! Of course! I love you forever. I love you forever.
That's what you've always said.
2 .
HARRIET: Last year our cake had three candles and it read:
"I love you more than Life" That’s what you ’ve always said. Darling!
JOSH: Yes Harriet?
HARRIET: Do you really believe that we love one another that much?
Beyond life ? Forever ? I know I do! I know now that I will love you
forever.
JOSH: I know it too.
HARRIET: Darling!
JOSH: Harriet! Have you ordered the cake for this evening?
HARRIET: No, not yet! But I'll do it after you leave. Have you reserved
the same table at AJberto's?
JOSH: I ordered it yesterday for tonight.
RICK: Happy anniversary, you two!
JOSH: He’s brought us our cake!
RICK: It's incomplete, I don't remember what cabalistic remark you
always inscribe...
HARRIET: I'll attend to that. I've got the gadget.
RICK; So, now it's almost ready.
JOSH: It's mighty swell of you, Rick, to remember; thanks! Well I've
got to go now until tonight.
HARRIET: To-night!
RICK: No! No!
HARRIET: Why not? Is it poisoned?
RICK: You'll spoil itl It's for tonight. For you and Josh together!
You both light it first, wish, then eat it.
HARRIET: Oh! so it's for both of us this time! Well!
RICK: I don't understand.
HARRIET: It's about time that you tried poisoning us both! You've
tried long enough to poison Josh!
RICK: I don't know what you mean.
HARRIET : Yes, you do! What's more, you knew that I knew since
yesterday. When you saw me take that glass of milk which you brought
for him, out of the frigidaire and replace it with a glass of milk I had
poured myself. I saw you look at me then and say to yourself then
"My God, she knows! She finally knows !" Now it's clear. All of those
violent attacks he*3 been having, begin to make sense. I see what you're
up to. Every time it was something he alone could eat. And I was
allergic to strawberries, shrimps and cottage cheese. So now that you
know that I know why shouldn't you poison us both? You know, surely
that I'll tell Josh now, don't you? And soon?
RICK: The cake's not poisoned, Harriet, I swear it!
3.
HARRIET: You’ve been lying ever since I knew you. You pretended
that you wanted me to be your sister, your comrade, your mother
confessor. And I was*£pol enough to believe it! After all you were his
best friend. Why did you do it? Why did you do it, Rick?
RICK: I didn't dare to tell you, Harriet. But I love you! I love you!
I thought that if he were not around I'd stand a chance with you!
HARRIET: You! You thought that!
RICK: Yes. I was a fool.
HARRIET: But, Rick. . .why didn't you tell met years ago instead of all
this... now!
RICK: I was afraid that you'd laugh at me! So I hung on anyway I could.
HARRIET: And in the meatime you tried to kill your best friend, Josh.
Your oldest friend, almost only friend. Rick, why didn't you tell me
earlier? I could have gotten you out of this years ago.
RICK: For people like me, it is sometimes easier to do than to talk!
It takes a lot of courage to attempt a murder!
HARRIET: With poison! That's a woman's way!
Lovely, lovely candle light
Shining bright, shining bright
Let me have my wish tonight
Dear God grant me my wish tonight.
SCENE TWO
MRS. BURNETT: Mister Reynolds ! Mister Reynolds !
JOSH: Why? What's the trouble Mrs. Burnett?
MRS, BURNETT : You know alright! Your wife, Mrs. Reynolds, she
she was just rousing the neighborhood.
JOSH: She wouldn't do that! Who says so?
MRS. BURNETT: I heard it! As did the lady downstairs. She heard it.
Mrs. Reynolds was yelling and screaming. Yes, screaming.
JOSH: My wife ? When ?
MRS. BURNETT: Three minutes ago! Now don't tell me you were
not here three minutes ago!
JOSH: I wasn't. What did the woman downstairs say?
MRS. BURNETT : As if you didn't know! She screamed "Help me! Help
me! I'm being "murdered! I'm being murdered!"
MRS. BURNETT: Blood!
JOS H: Harriet! Harriet! My God!
Rick, Harriet is dead!
RICK: Who did it?
4,
JOSH : I don't know.
RICK: 1*11 go out and phone the police. No! Let’s see what
happened first.
JOSH: I don’t know, I came home five minutes ago. I was hardly
in the door when Mrs. Burnett came up here and accused me, at
least she seemed to accuse me, of beating Harriet. She said the
woman downstairs heard her screaming "help me! Help met
I’m being murdered!" I suppose she thinks I did it.
RICK: How did you come home ? On the usual bus ?
JOSH: No! No! I came home by subway! I wanted to get home
earlier!
RICK: Great Scott! man! The subway is no alibi! Let's see now!
I'd better not phone the police! Not yet!
JOSH: Harriet! Harriet! Dearest! No, it can’t be!
RICK: Pull yourself together, man! You're in serious trouble!
I’ll help you! Let’s put this back first. We'll get rid of the body.
JOSH: No! No! Nothing like that! Go tell the police! Nothing
makes any difference to me now.
RICK: Josh, think! They’ve got you dead to rights. The circum¬
stantial evidence is overpowering. We've got to think of something.
JOSH: Let me alone! I can't think of anything else but that Harriet
is dead! Nothing else. Tonight of all nights! I don't care what
happens to me now! Call the police!
RICK: I'll swear that you were with me!
JOSH: I don’t want to live anymore. I'm finished.
MRS. BURNETT: Here it is, officer! Blood!
RICK: So what, Mrs. Burnett? Mrs. Reynolds cut herself as she
was sewing, with a scissors.
MRS, BURNETT: How do you know? Were you down here?
RICK: No! She came upstairs to me to have me bandage it.
MRS. BURNETT: It's a lie! She wouldn't have had time! They're
close friends, him and Mr. Reynolds. He’d lie about anything to
save him! Where is the body?
RICK: Harriet? She's sleeping in the bedroom"
JOSH : No, no, Rick! It's no use! Don't lie for me! My wife is
dead! I've seen her - murdered, murdered! I've seen her lying
cold underneath. . .
HARRIET: Ladies and gentlemen?
POLI CEMAN: Well, I guess that about settles it! How about all of
us getting out now ?
MRS. BURNETT: But he said he had seen his wife murdered!
I'll bet that Mrs. Reynolds has a twin sister!
5*
RICK: Mrs, Burnett, you've been reading too many detective stories.
MRS, BURNETT : I'll bet she's under the divan, murdered. I’11 bet
she's there!
HARRIET: Mrs. Burnett, don't you know me? I'm the one and only
Harriet Reynolds!
MRS, BURNETT: Will, I guess you're Mrs. Reynolds.
POLICEMAN: Come on, Mrs. Burnett.
JOSH: Dearest! Dearest! Now I know why it is I love you so!
I cannot begin to be if you are not here to love me. Dearest, you
felt cold when I kissed you a moment ago! Let me go and fetch your
shawl.
HARRIET: No, I no longer need it!
JOSH: Dearest! Are you well? What is it you dare not tell?
Why do you look at me sadly? Tell me! I'll forgive you gladly.
Let's light the cake now.
HARRIET: No, I've lit it earlier!
JOSH: Did you make a wish ?
HARRIET: Yes.
JOSH: Will it come true ? What did you wish?
HARRIET: It won't come true if I tell you! Let me keep my secret
tight for tonight!
J OSH: In a way I'm glad all this happened. It taught me something
terribly important, something I'll always remember. I do_love you
more than life! I do! I knew in those few terrible moments when I
thought I'd lost you forever, that life means nothing whatsoever
if you are not here. I cannot live without you!
HARRIET: Josh, you must not say that.
JOSH: Alright! I won't say it. But you know now that I mean it?
HARRIE T: I know it now!
JOSH: Forever?
HARRIET: Forever! Oh Josh, I love you so! I too, have had a
sudden realization! It is this: If J[ cannot have you. „. if you are ,taken
away from me somehow., .how lonely, how terribly lonely I shall be!
I don't know what I would do.
JOSH: But you do have me tonight particularly! Tonight, the night
of nights.
HARRIET: Tonight, the night of nights. But tomorrow, but tomorrow. .
JOSH: You will have me tomorrow too!
HARRIET: But tomorrow?
JOSH: Tomorrow too! And the day after tomorrow.
6 .
HARRIET: Oh Josh, what big words we have always used! What
does the word '•forever' 1 really mean? Now tonight I think for the
first time I realized,
HARRIET: Why, you're tired dearest, very tired. Come rest
your head o n my lap. Trala-la-la-la, tra-la-lala-la. I'll love
you forever! Mm mm... mmmm-mmmm-I'll love you faithfully,
always. Forever, darling.
SCENE THREE
SIGNOR ALBERTO: Ah, Mr. and Mrs. Reynolds! I see that you're
quite on time! Tonights the night!
HARRIET AND JOSH: Tonight's the night! We wouldn't be late for a
million dollars!
SIGNOR ALBERTO: Chianti?
JOSH: Yes, Chianti as usual! Yes the same!
HARRIET: Yes, the same! Isn't it all wonderful! It's all the same,
just as always. May it never, never change!
JOSH: Oh, Harriet! It's slipping! And not a drop of blood inside it!
HARRIET: No blood inside it ?
JOSH: No blood! Now, don't you think you'd better explain?
HARRIET: Oh, explanations are very boring.
JOSH: This one will not be.. , at least to me! Now come on and tell
me! How did you disappear ? Did you crawl out from behind the divan
to the bedroom? How did you get into the bedroom?
HARRIET: Oh that? That was nothing! So easy, really, my love!
JOSH: How did you get out from under the divan?
HARRIET: ' I crawled out from underneath it, made my way to the
bedroom door. , .you two were much too busy; never saw me close the
door! Never saw me!
JOSH: Oh, I see! You wanted to teach me a lesson, didn't you?
It was "I love you better than my own life!"
HARRIET: Yes, that was it. In fact, I was fairly horrified when I
heard you and Rick talking about how to get rid of my body.
JOSH: No! That was Rick! Only Rick, alone! I was too upset to
attempt an alibi!
HARRIET: I remember that! I'll always remember that! And a good
thing, too, or else I'd never have come back.
JOSH: "Never have come back"? And left me sitting here with the
circumstantial evidence! Fie on you Mrs. Reynolds!
HARRIET: Well, not quite. No quite. Everybody is dancing! Come on.
JOSH: Alright.
7.
HARRIET; Oh Josh! It's so beautiful here on earth; who would ever
want to leave it? Yes, I wish this could go on forever, Jo3h!
Dancing here with you. Holding you to me. Dearest one! Josh!
I love you forever. All this is so new and strange to me.
JOSH: Nothing is ever new here. All is old and good.
HARRIET: It is new to-night. Everything changes. Josh. Even this
ghostly evening.
JOSH: What was ghostly about it? Oh, I seef But you're not a ghost!
You still weigh one hundred and ten pounds! Ghosts weigh only
three ounces!
HARRIET: Oh, but some ghosts are fully materialized, up to full
specific gravity! Difficult to tell them from real human beings.
JOSH: You don’t say!
HARRIET: I do say! Yes! some ghosts are fully materialized.
There's Ben Weiss, our cigar-store man downstairs. Why he’s
been dead for years!
JOSH: Ben's a materialized ghost I expect?
HARRIET: Yes, that’s true. But how did you know?
JOSH: I knew it years ago!
HARRIET: Then you know that Pat, the policeman who came in this
afternoon with Mrs. Burnett is also a fully materialized ghost?
He was shot dead five years ago. Still likes to hang around our block,
though.
JOSH: Oh yes, of course! I noticed that he knew you the first time
that he saw you. But he also gave me a wink!
HARRIET: Oh! how pretty, how very pretty!
JOSH: Shall I make a wish now ?
HARRIET: No, don't.
BEN, PAT, ALBERTO:
Come up the street, come down the street
Come here to Alberto’s Cafe
You'll surely meet almost ev’rybody you know
For this is the place to go, to go!
Alberto's the place to go.
It's a treat!
PAT: Hello Harriet!
HARRIET: Hello Pat.
JOSH: Oh, you know him that well?
HARRIET: Yes and Ben too! Hello!
8
BEN, ALBERTO, PAT:
Yes, oh yes! It'3 a dream Cafe
And the music is a3 tender as her lips!
If she gives you any trouble
Order two of Alberto's doubles!
Moreover Alberto cares nothing for tips!
Moreover, Alberto's a philanthropist!
So boys and girls love one another!
Girls, you can love him, trust him like a brother!
Boys, don't tell her "you remind me of mother"
We will put all conveniences at your absolute disposal.
We guarantee she won't refuse your proposal!
We guarantee she won't say no
She won't say no, she won't say no!
BEN; Harriet, I'm sorry.
HARRIET: What's the matter, Ben?
PAT: You've forgotten something...
BEN: You know they're bound to find you. They're bound to find
you sometime.
PAT: The case is pretty tight! Josh's fingerprints are on that poker
HARRIET: Oh, I forgot!
BEN: Pat and I have been talking it over! You'd better go see him.
See Rick! He'll listen to you! He'll listen to you if you know how
to approach him!
HARRIET: I doubt it! What can I do? I don't want to leave Josh. ..
JOSH: Just one more dance? Harriet, please!
HARRIET: The music has stopped!
Stop! Stop!
JOSH: Of course! Of course! Darling you are so cold! Cold as ice.
HARRIET: Dove me. Josh! Love me always, Josh beloved!
JOSH: Harriet!
SCENE FOUR
JOSH: Huh? What?
Oh! the door-buzzer! Wait, can't you! Wait!
RICK: Josh, I've got to tell you., . I've got to tell you.. »
JOSH; What's up, Rick?
RICK: She's forcing me... to,. . tell you,.. I must.., she's on the
upper landing! She's coming down here! Josh! No, please don't!
JOSH: What? What?
RICK: She's awful to look at!
JOSH: HARRIET!
9
RICK: She's not human any more!
JOSH: There's nobody there! She's probably in the bedroom. Let's
look in there!
RICK: I tell you she's up there.
JOSH: She's not there!
RICK: You did not look well enough!
JOSH: She's not there.
RICK: I saw her crawling painfully, .. she's going to come here!
I'm finished. I'm finished!
JOSH: Rick! Rick! Tell me v/hat happened?
RICK: I killed her! That's what!
JOSH: What? What?
RICK: I killed her! I killed her!
JOSH: Rick, you are mad!
RICK: Yes, I killed her !
JOSH: Rick!
RICK: It's true!
JOSH: But you're going to explain it!
RICK: I didn’t need to do it! The cake was poisoned and would have
killed you both within the hour,
JOSH: Make sense!
RICK; I killed her! I hit her on the head with the poker, I heard her
skull crack! Then I dragged her body behind the divan.
JOSH: You're crazy! We all saw her after that! Why you d id, the
policeman did! Mrs. Burnett did! And I did!
She was alright then! She is alright now!
RICK: Yes, I thought that too! But that was not Harriet.
JOSH: What was it then?
RICK: It was something! Not H arriet!
JOSH: Not Harriet?
RICK: It used t o be Harriet!
JOSH: You're crazy! There's no one on the landing!
RICK: HARRIET! She's coming down the stairway! Can't you hear
her ? How leaden her steps are !
JOSH: No, I don't see her! You're crazy Rick!
RICK: She's dragging herself slowly, painfully! She said: Confess,..,
confess! There's a witness!
10
JOSH: You're crazy, Rick. Rick, listen!
Harriet? Please come out of there dearest Harriet. Please,
no more te3ts today.
MRS, BURNETT: I was just.. .taking out the blood spot.
RICK: I loved her, but I killed her. Now I've made amends a little!
Mrs. Burnett heard my confession. That's what she wanted me to
do! Now it'« done. I loved her! Forgive me, Josh.
JOSH: Baker, baker, will you bake
For us both a poison cake?
Make it high and make it light
For tonight, for tonight
We celebrate!
Come on now, we can't be late!
Baker, baker, tell me true
Why it is I don"t like you?
Magic writing for her sake
Rick did rricike us a poisoned cake.
Tragic writing for my sake,
For her sake,
Tragic, tragic mistake ?
Heartache? Heartbreak?
Baker, baker, can you bake,
For us both a poisoned cake ?
What did Rick mean?
Harriet! Harriet! Harriet is dead!
”I love you forever! Forever!"
END OF THE OPERA.
DECEMBRE
Cantate Radiophonique
Musique de Henry Brant
Texte de Maeve Olen
( 1955 )
D E C E M B RE
Cantate Radiophonique
Pour Chanteurs ct Recitants
Avoc Instruments a Vent et a Percussion
Le texte do “Decembre" explore la signification originelle de
Noel et son rapport au monde obsede par l’idee de la destruction,
massive ou individuelle, spirituelle ou physique, auto-infligee ou
subie•
De memo que dans la vie, et cn conservant les textures complexes
de la musique, il y a dans le texte, une confusion intcntionnee : le
cynisme, le desespoir et la satire se melent a 1‘idealisme, la ten-
dresse et 1‘espoir. Les personnages, les scenes et les siecles
changent avec la faqon caracteristique de 1‘impermanence de 1‘imagi¬
nation et de 1‘instability de la vie conteraporaine*
Ainsi done, tandis que les Trois Rois commencent leur recherche,
tandis que les anges et les bergers sont en Adoration, la destinee de
1‘Enfant est suggeree par les voyantes et les oiseaux de mauvais augure
planant au-dessus de 1‘etable de Bethlehem* Les Trois Rois represented
a la fois les hommes courageux qui recherchent la lumiere de la verite
au milieu du danger et les attaches (*) avides des puissances du Mai
(*) En franqais dans le texte
qui se serviraient des ideaux d f autrui pour arriver a lenrs propres
fins impitoyables. Les gardiens de 1’Enfant, Symbole de la Paix
(et de tous les enfants de tous les temps), sont impuissants, igno-
r.nnts ou, dans le cas dc la bonne d’cnfants, irreflechis et par conse¬
quent, complices du Mai*
L’oeuvre suggero que ce n’est qu’avec 1*acceptation complete
et 1’identification avec les ideaux de 1’Enfant que nous pouvons banir
1’ombre monstrueuse de la guerre des paisibles jardins terrestres et
empecher notre monde de devenir un espace desertique de fleurs mou-
rantes et de coeurs humains tombes en poussiere.
En ce qui concerne les elements utilises, "Decembre” fut
conqu avec 1’intention de combiner en une seule oeuvre quelques uns
des nombreux moyens d’expression efforts par la radio, en particulier
1) L’emploi de recitants aussi bien que de chanteurs, en
soli et en choeurs.
2) L’emploi de textes pour leur signification propre et aussi
de voyelles et syllabes pour acccntuer certains timbres
dans les voix chantees*
3) La disposition des executants a des distances variables
du microphone, pour des effets variants de presence ou
d'eloignement.
Dans ’’Decembre”, le groupe principal (choeur, cuivres,instru¬
ments a vent et tmbales) est place pres d’un microphone principal.
Les recitants, la flute et les autres instruments a percussion sont
Ill
projctes de la mSme faqon, avcc presence directe, mais par un autre
microphone, Un troisieme groupe (cuivres bouches, timbres, cloches,
etc.,, et les deux solistes) est place a une certaine distance du
microphone principal. Cependant, tous les executants de ce dernier
groupe utilisent la projection totale en "forte" et les deux solistes,
tenor et soprano, chantent a pleine voix. Ses divers tuyaux etant
disposes en groupes separes, 1‘orgue se trouve capte de fapons diverses
et variees par les microphones.
* * #
"Decembre" fut cree par la "Collegiate Chorale" de New-York, sous
la direction de Ralph Hunter.
* -){■ # 45- *
Solistes
Tenor
Lloyd Thomas Leech
Soprano •••
Le Recitant
La Recitante
Marni Nixon
James Morris
Lisa Markah
IV
HENRY BRANT est egalement le compositeur d 1 oeuvres recentes
tellcs que "Millenium 2", "Ceremony", "Encephalograms", "Galaxies",
"Labyrinth" et "Ice Age"; ces oeuvres, prevues pour d'inhabituelles
combinaisons d*instruments et de voix, utilisent egalement une distri¬
bution stereophonique en contre-chant des forces executantes, dans des
positions variees, tout autour de la salle. Dans ces oeuvres, Brant
introduit aussi les nouvelles inventions rythmiques de la "polyphonie
des temps" et des "intervalles calcules" qui rendent possible 1*extreme
complexite des textures rythmiques, avec un minimum de difficultes
pendant 1'execution,
Henry Brant, dont les parents sont americains, est ne a
Montreal, en 1913. II fut boursier a l’Institut de l’Art Musical de
1930 a 193U et y obtint les prix de composition Loeb, Seligman et
Coolidge; il fut egalement boursier a l’Ecole Juilliard de 1932 a
193U* Aaron Copland et Wallingford Riegger lui donnerent des leqons
particulieres de composition.
En 19et en 195% il obtint ume bourse Guggenheim de
composition musicale et, egalement en 195% un octroi de fonds de
l^nstitut des Arts et des Lettres.
Il a compose, dirige des orchestres et fait des orchestrations
pour la radio, le cinema, le ballet et le theatre, faisant ainsi un
apprentissage intensif dans ces aspects fonctionnels du metier de
compositeur, avant de faire partie de 1 1 Universite de Colombia, de
19U3 a 195>0 et de l ! Ecole Juilliard ou il entra en 19ii7 comme professeur
de composition et ou il professe jusqu’a ce jour.
V
De nombreuses oeuvres recent.es de Brant ont ete composees
sur commande,pour des organisations telles que ’’Yaddo Festival”,
’’Collegiate Chorale”, L*Universite de Colombia, L’Orchestre Sympho-
nique de Cincinnati, ’’Ballet Theatre”, ’’Columbia Broadcasting System”,
’’Broadcast Music, Inc.” et L*Ecole de Musique Juilliard.
Des disques microsillons de la musique de Henry Brant
ont ete mis en vente par Columbia, Remington et American Recording
Society.
’’Millenium 2”, ’’Admonition”, ’’Behold the Earth” et
’’Prelude to Creation” sont aussi des oeuvres creees conjointement
par Henry Brant et Maeve Olen.
DECEMBRE
d e
Maeve Olen
I - PROLOGUE
DIALOGUE I
La Feme : Une etoile, comme un signe, pendait au ciel nocturne,
une etoile semblable a un soleil,
Les bergers et les voleurs la virent,
les amants et les rois,
les sentinelles et ceux qui vcillent ,.,
L^omme : •**••• Et les sombrcs seigneurs aveugles du desert
(1 1 interrompant)
qui, haissant la lumiere qu*ils ne pouvaicnt voir,
miront hors-la-loi la lampe et la torche et le feu
et organiserent la mise a mort des etoiles.
La Femme : Les amants et les rois,
les sentinelles et ceux qui veillent,
la nommerent ou la suivirent ••••
L’Homme ; •««•»» Ou 1*oublierent,
(1•interrom¬
pant encore) La plupart des hommes ne la remarquerent jamais.
La Femme : Un ange, comme Europe, tress a des jacinthes
autour des cornos de tous les taureaux et vaches,
J*avais, jadis, plante des jacinthes dans le jardin,
t*en souviens-tu ? mais elles ne pousserent jamais.
L’Homme :
2 -
L*Homme :
La Femme :
L*enfant avait froid parmi les "Adoremus" et il frissonnait
J’avais un enfant, jadis..
(se souve-
nant soudain)
L* Homme :
L*enfant avait froid, disais-je,
et deux oiseaux carnivores,
gros comme des boeux, gris comme la cendre,
et insolents, et decharnes par le jeune du Careme
se percherent lourdement sur la gouttiere
et arracherent les bardeaux avec leurs bees et leurs serres
La Femme :
J*ai jete des pierres I Et j f ai crie i
Ils ne voulaient pas s'envoler i
L * Homme :
Le toit s’affaisse i
La Femme :
Mon enfant est dans la maisoni Laisse-moi j allcr l
L 1 Homme :
Prends garde l La maison s’ecroule 2
(HUSIQUE)
II - INTERLUDE LIRIQUE : LES ASTROLOGUES
Tenor :
Saturne est sous l’influence de la Balance, laissez-moi
vous predire 1‘avenir:
Tous ceux, nes sous ce signe, prenez garde ;
vous avez bon coeur, mais vos intentions seront^mal
interpretees;
le vendredi est votre jour fatidique
Mefiez-vous des amis perfides..
Soprano
Venus est sous 1*influence de la Balance*
3 -
Sous cette sombre etoile,
une scule ambition vous gouverne :
mourir en martyre.
Les proces vous boulverseront.
Soyez patient. Votre generosite
trouvera, au ciel, sa propre recompense,
III - INTERLUDE LYRIQUB : RITES ET INCANTATIONS
L*Homme : Et le joyeux Saturne, au cours de 1 ’Age d'Or, pendant
(psalmodiant) sept jours,
crea le Carnaval dans toutes les rues,, les places publiques
et les maisons do Rome,
et les serviteurs parlerent, impunis, contre lours maitres,
ot les nobles servirent a la table de leurs esclavcs*
La Femme : A Brunncn, sur lo lac de Lucerne,
les esprits fcminins des bois,
les pauvres Strudeli et StrEtteli, s’enfuirent, tremblantes,
dans la fourree,
devant les feux des flambeaux, devant les fouets et les
cloches retentissantes et la clameur des cors*
L’Homme i A Carcassonne, les enfants de la rue Saint-Jean,
armes de batons, s’en allerent chasser le roitelet.
La Femme : ’’Beni soit le roitelet, roi de tous les oiseaux” (**)
(psalmodiant)
(*) Vieux chant de Noel irlandais
- u -
L 1 Homme
La Femme
L*Homme
La Feme
Avec un roi captif, lie a \mo perche, au son du fifre et
du tambour battant,
ils defilerent dans les rues avec des flambeaux.
"Beni soit le roitelet, pris dans les ajoncs".
Et s'arreterent a chaque porte, de chaque raaison,
ecrivant "Vive le Roi" a la craie sur la porte,
et inscrivant le chiffre de 1 1 annee nouvelle.
"Le roitelet est petit, sa famille est grande;
je t‘en prie, bonne mere, donne-nous quelques gateries".
(parlant) - Les bergeres, leur tablier plein do gui,
sangloterent en voyant les villages en flames;
les gnomes attendaiont encore sous le pont,
l ! enfant tardait a venir,
et les agneaux maigrissaient du lait pauvre de la brebis.
L*Homme : L*ange, come Europe,
(parlant)
respira le parfum capiteux du foin moisissant et des betes
en sueur,
chanta, inatentif, durant tout le "Gloria"
et, dissipe, songea au ciel climatise.
IV - REPONS (CHORAL) (Bruit de foule, exprimant en arriere-plan,
1’etonnement, la derision et divers tumultes)
Soprano ) L*an vieux s’en est alle,
& ) :
Tenor ) et se glisserent la mort et les menaces de mort,
et le froid; nous savons avec certitude mclancolique
que memo cette vie de demi-mort est bonne*
V - DIALOGUE
L 1 Homme
La Femme
L* Homme
La Femme
L’ Homme
La Femme
L’Homme
La Femme
- 5 -
Nous attendons quo les cloches sonnent follement de joie,
nous nous tenons debout dans nos tombes froides a demi
creusees
et tendons nos mains vers le feu d’un jour plus sage, (*-)
II
: Trois rois a dos de chameau, portant dans leurs bras
des etoiles aussi grandes que des seaux,
voyagerent loin pour trouver un quatrieme roi.
: Moi aussi, jadis, je cherchais quelque chose.
: Qu’etait-cc ?
: J*ai oublie.
: Un roi (d'apres des sources generalement bien informees),
partit avec l’espoir de conclure
un pacte d’entr'aide contre ses deux compagnons.
: Etait-ce quelque chose qu’autrefois je possedqis,
ou seulement quelque chose d^ncertain que je souhaitais,
j *ai oublie,
: Un roi partit avec l'espoir de conclure
une alliance par le mariage
de sa fille ainee.
La princesse avait onze ans, mais paraissait plus agee.
j Je me rappelle les rats du desir aux griffes acerbes
creusant en mon sein de profondes cavernes de douleur;
mes bras se souvinrent de quelque chose de chaud,et d’aime,
de jadis tenu serre
(*) Chante en allemand.
Texte allemand de Anneke Reens et Maeve Olen,
- 6 ~
L 1 Homme
La Femme
L'Homme
La Femme
(incredule
&choquee)
L* Homme
(impitoya-
blemcnt)
et se tendirent familierement pour ne bercer quo l’air vide*
0, cette odeur grisante,et lourde, et suffoeante
des capucines coupees mourantes et des roses en vases,
0, avec quelle diligence les invites au visage livide
essayerent de m' aider a trouver la chose aim£e, la chose
perdue,
mais aucun n’y reussit*
: Un roi partit avec l’espoir de se procurer
une aide finaneiere sous forme d*un grand emprunt
garanti par une hypotheque
sur la moitie nord de son royaume,
ainsi qu ! un emprunt personnel secret
payable le jour ou il d ourrait faire decapiter son Tresorier
d'Etat.
J’arrachai de mon sein la froide pierre de mon coeur
et la jetai aussi droit, aussi fort, et aussi loin que je pus
dans la nuit glaciale du grand desert froid.
A quoi un coeur pouvait-il encore me servir ?
Tu peux le racheter au prix fort habituel
au comptoir aux souvenirs, dans le centre de la ville*
II repose parmi les figurines phosphorescentes et la
verroterie voyante et les osselets dores*
: Non
Quelqu’un y a grave la Genese entiere
on grec microscopique et illetre
et l'a joliment enveloppe de matiere plastique.
7
La Femme :
(desesperee)
Non, non, non i
11 fut seche et reduit en poussiere par le soleil du desert
>>
et souffle par les vents dans l'eternite du glacial oubli-.
L’Homme :
Pourquoi frissonnes-tu ?
(d’un ton de
conversation)
La Femme :
J*ai froid.
L’Homme :
11 fait froid ici. 11 ne faudra pas oublier de commander
du bois de chauffage demain.
La Femme :
(comme une menagere qui se plaint)
Nous n*en aurons jamais assez.
11 est de si mauvaise qualite et la cheminee
a besoin d’etre reparee et l’ouvrier
n f est pas venu bien que je l*eus appele deux fois.
L 1 Homme i
(preoccupe)
Qu'as-tu dit ?
La Femme :
11 fait toujours froid dans cette maison.
(MUSIQUE)
VI - ANTIENNES
Soprano i
Tout ce qui ctait dans un cocon,
sous ion monticule, dans une ruche.
c *
sous une couverture, dans un ventre.
Choeurs :
se tint au chaud.
(Voir les couplets de la section VII - p. 8 a lU)
La Femme :
Ou est 1’enfant l 11 ctait ici meme
(dans un mur~ f
mure fort & a jouer devant la maison quand j'ai re garde.
alarmS)
Tenor
Choeurs
L'Homme
La Femme
Soprano )
& )
Tenor )
La Femme
L* Homme
- 8 -
Trois rois a dos de chameau, portent dans leurs bras des
etoiles
aussi grandes que des seaux, voyagerent loin
pour trouver un quatrieme roi*
(Voir les couplets de la section VII -p* 8 a lU)
Quelle est cette foule, la, dans la rue ?
Quel est ce bruit ?
Cent quarante cloches brillantes
de cuivre tintant, resonnant et bruyant
volerent et briserent le ciel.
Que sont ces ombres de grands oiseaux sur notre jardin ?
Regarde, lo ciel se couvre i
Ou est 1'enfant l
VII - EVENEMENTS SIMULTANES (Chaque couplet comporte sa melodie propre
et represente un aspect different du mois
de decembre. Les vingt-quatre couplets
se chantent simultanement, sans coordi¬
nation rythmique).
La neige s'infiltra
Dans les recoins caches des cedres.
Le vent pleura
Sur le sable froid.
”L 1 Isle de Quelque Nation” (*)
Le soir, dans le brouillard, par grosse mer arctique.
(*) En franqais dans le texte<
9
Prepara une fete familiale
Pour six cents etrangcrs dociles qui avaient le mal de mer.
Continuant tout le temps a monter une garde vigilante contre
les icebergs,
Dans les chambres seches, chauffees, tendues de rideaux,
Les auditeurs parlaient de madrigaux et des derniers quatuors
Et de trios et de sonates
Et donnaient du jambon froid et du grog aux musiciens
Et disaient qu'ils jouaient eux-memes du violon.
Sous un reverbere, dans un cercle de lumiere.
Six saints grelottants, en uniforme,
S’essoufflaient en jouant des hymnes sur un cor,
Un cornet a pistons, un saxhorn,. un trombone,
Un tuba, une clarinette,
Jusqu’a ce quo la noige qui tombait mit les cloches
En sourdine gelee.
Les sabots des chevaux
Coursiers des traineaux,
Faisaientdes etincelles sur la pierre
Et les harnais crissaient dans le froid.
Un enfant se roula en boule de neige
Et descendit la colline en roulant,
Augment ant de volume
10 -
Et‘plongea dans un trou de neige amoncelee.
II fut decouvert vivant (souffrant du choc)
Par un egoutier, au degel du printemps*
Le lait gela sur sept pieds de haut
Par-dessus la bouteille.
Les tuyaux et les seaux
Gonfles de glace
Eclatercrrt.
Le tramway Numero Huit (ligne de 1‘ouest)
Ne put freiner sur les rails geles de "Canaan Hill",
Versa ijele-mele dans la neige
Vingt sept passagers et quatre vingt dix paquets enrubannes.
Neuf passagers souffrirent de contusionslegeres.
La vente des articles managers (de consomraation courante)
Est en progression constante;
Celle de 1‘alimentation (en retard dans le domaine du luxe)
Monte en fleche*
Une expedition se prepare, pour explorer
Les confins de l f Univers en Expansion*
Toute la journee, les chefs d.e groupe, portant etoile,
Accueilloront les volontaires dans les depots centraux*
Apportez des bottes de caoutchouc*.
Marquez tous vos vetements a votre nom.-
11 -
Le bateau du Roi Che op s, labor ieusement repare
Put parte au Nil et lance#
II s 1 aver a incapable de Hotter et sombra a une verge deJLa
cote
Dans sept toises d'eau*
Toutes les ames furent sauvees.
La mariee portait du satin blanc (unc robe de famille);
Elle avait un simple bouquet de pivoines;
Les yeux humides, elle pensait a ses chambres a coucher et
a ses moquettes-.
Le garqon d’honneur qui, a la derniere minute,
Remplaqa le marie
(Qui, dit-on, s'eloigne vers le nord dans un rapide
brise-glaces
Offert a 1‘heureux couple par le pere de la mariee),
Est diploma de Groton et de Harvard.
Le champagne du pays et le rate de foie en tranches
Etaienfc fcrfc appr£cies par l’heureuse assemblee
Dont tous les membres auraient garde leurs manteaux
S*ils n'avaient ete rassures par la vue
Des radiateurs dans toutes les pieces glaciales.
C’ctaient d’excellentes imitations de vrais radiateurs.
Quand les eleves de la classe de soconde
A la fete de 1 'Ecole Communale Numero Quarante-et-un
Ouvrirent leurs boites
12 -
Entourees de rubans et couvertes d’ argent,
Les bortes etaient vides*
Les clochers et les cheminees craquerent de froid
(Les canaux geles etaient assez solides 1 )
Et les oiseaux affames crierent avec consternation
En voyant s‘ecrouler les briques.
Les glaqons pointaient vers le haut et vers le bas,
Des flocons de neige d*un dessin compliqne et de la taille
des roues d’une locomotive,
Tournoyaient follement aux carrefours du centre dela ville,
Renversant les pietons et enfonqant les ailes des taxis.
Deux bonshommes de neige cherchaient a defendre leur honneur
Dans un duel a chandelles romaines 0
Aucun des deux ne peut etre considere comme vainqueur.
Des aiguilles de pin, de sapin et de cedre
Tomberent, et tomberent, et tomberent
Jusqu'a ce que les forets deviennent impenetrables
Et toutes les rivieres engorg6es
Et la circulation arretee dans toutes les capitales.
Tous les assieges
Mirent des bas de laine, chercherent leur lampe,
Houcherent les meches et sortirent les chandeliers
- 13 -
Et placerent neuf lumieres dans chaque fenetre J
Des invites vinrent en visite.
Poupette rentra de 1‘ecole
Ses mitaines mouillees, toute en lames et le nez coulant,
Une boule de glace la frappa,
D ! une maniere ou d ! une autre, une galoche fut perdue.
La stenographe du bureau 300
Sc plaignit au chef de service
Que sa machine a ecrire ne tapait que les capitales*
Ceci fat considere comme un mauvais pros age et tout le
personnel
Fit brfiler une grosse d 1 attaches~trodbones en sacrifice
expiatoire
Et partit trois jours plus tot en vacances de Noel.
Les maisons de neige s 1 effondrerent
Et un roi, traversant une banquise fondante
Perdit etoile, couronne et chameau.
Une masse d*air froid, accompagnee de rafales de neige
Vient de la merj
Velocite du vent : 30 milles a l*heure et en haussej
Vingt degres en banlieue; thermometre toujours en baisse*
/
- Ill
Pterynotus trialatus mollusc a gastropoda (#)
Est etendu raide mort sur le seuil,
Un seuil etant I’endroit le plus sense
Pour y etre couche raide mort.
VIII - CHORAL ET BENEDICTION
Choeur
Soprano )
& )
Tenor )
L*an vieux s’en est alle;
et se glisserent la mort et les menaces de mort,
et le froidj nous savons avec certitude melancolique
que meme cette vie de demi-mort est bonne.
Nous at'oendons que les cloches sonnent follement de joie,
nous n«xs tenons debout dans nos tombes froides a demi
creusees
et tendons nos mains vers le feu d ? un jour plus sage. (**)
Que Dieu benisse cette maison et tout ce qui lui appartient
pierre, bois et betail } Qu*elle soit toujours riche en
victuailles, meubles et habits et que 1‘homme y soit bien
port ant i (#*-*0
(*) En italique dans le texte.
(##) Chante en allemand.
(*•#*■) Vieille benediction de Noel ecossaise.
IX- DIALOGUE III
- 15
La Femme : Mort, inert, mort, 1*enfant est mort*
(gemissant)
L*Homme : (comme s’il n’avait pas entendu)
Je viens tout juste de les trouver en train de dechiqueter
le toit
Et quand je suis alii clouer les bardeaux
Us se sont poses sur la poutre, a cote du piege que j*avais
tendu
Et m’ont regarde travailler avec dies yeux ternes et
malveillants.
La Femme : Entends-tu le bruit des sabots et des roues sur les pierres ?
(silence)
Ils apporient 1*enfant a sa mere*
(silence)
(continuant d 1 un ton de cornerage uu peu michant) :
La bonne d’enfants l f a laisce sur le Grotto ir,-
puis est partie, souriante, avec un inconnu
au toint condre, insolent et deeharne par le jeune du Careme*
Certains disent que e'etait son amant.
(silence)
(en colere, d*un air coupable) :
J * aurais du le surveiller J Et toi aussi J Et nous tous J
L 1 Homme : (pretant enfin attention a elle) ;
Ou 1’emmenent-ils ? Ne savent-ils done pas
que noire raaison est la derniere dans cette rue ?
- 16 -
La Femme :
L 1 Homme :
(etonne)
La Femme :
L^omme :
La Femme :
L*Homme s
(en colere)
La Femme :
(pleurant)
L*Homme :
La Femme :
L 1 Homme :
(inquict)
La Femme :
(effrayee)
0, la nudite des chambres i
La tristesse des assiettes
Et des pofcsde fleurs, et des chemises et des chaussures i
La douleur des fruits, et du pain, et des chants*
Les chevaux se sont arretes devant notre grille i
Le silence - - plus aigu que des flutes perqant les
oreilles
Le silence terrible, dechirant i
0, encore cetteodeur de fleurs coupees qui meurent i
Pourquoi 1 1 apportent-ils ici ?
Ne peiix-tu rien faire contre l ! odeur de toutes ces fleurs ?
(on f'ra-'pe a la porte)
Dis~leur qu’ils se sont trompes de inaison* (II attend)
Pourquoi n*y vas-tu pas ? (On frappe encore)
Dis-leur i (court silence) A qui appartient l'enfant ?
Reponds -mol i
A nous.
Nous n'avons pas d ! enfant.
A nous tousc
Us s’en vont, Ils ont laisse 1*enfant dehors*
(criant) : Reneve z i
N ! ouvro pas la porte 1 Ces diables d’oiseaux
vont entrer J (elle ecoute) Tu entends ?
Ce bruit dans le ciel ? Comme le tonnerre ? (elle ecoute)
Le battement d’ailes monstrueuses
- 17
L* Homme :
(affaire)
La Femme :
(effrayee)
L’Homme :
La Femme :
(vite, avec
crainte)
L 1 Homme :
La Femme :
L*Homme :
(amer)
La Femme :
L*Homme :
La Femme s
L* Homme
Plus fort que le bruit de la pluie qui commence ?
Entends-tu ?
Ou. est mon marteau ?
Tu ne peux pas sortir maintenant i Alors que l*enfant est
mart.
Que penses-tu qu ! ils attendent ?
Ecoute (court silence)
Ils s'cnvolent.
La pluie a du les chasser.
Nous pouvons prendre 1*enfant.
C'est peut etre une ruse*-
Non, c*est calme maintenant, ils sont pa.rtis.
Depeche-toi, avant que 1*enfant ne soit mouille.
Nous pouvons le garder ici jusqu’a ce qu’ils reviennent.
Ils ne viendront pas sous la pluie*
Elle cessera bientot. Elle cesse toujeurs.
Non, elle tombe plus fort. Mais oui, mais oui.
Ils doivent deja etre sur le chemin du retovir.
Pas encore. Pas sous une telle averse J
Nous avons un peu de temps. Peut-etre pourrions nous le
mettre
dans le jardin, dans le coin ou poussent les jacinthes.
Mais les fleurs sont toutes mortes, n f avais-tu pas remarque ?
II n*a pas plu depuis si longbemps
- 18 -
La Femme
&
que le jar din est comme un desert. Si s eulement
il pleuvait ainsi plus souvent.
: C ! est presque une attente paisible (silence)
11 y a eu si peu de paix dans cette maison.
L* Homme
• La Paix, comme la pluie, n*arrive jamais
partout sur terre en meme temps.
La Femme
• Oh, mais une fois, une fois quand le monde etait tout neuf,
il a plu pendant un millenaire l
(CODA INSTRUMENT ALE - FIN)
*
Scanned from the National Association of Educational Broadcasters Records
at the Wisconsin Historical Society as part of
"Unlocking the Airwaves: Revitalizing an Early Public and Educational Radio Collection."
'oiTu> c KTwe
\\KWAVEs
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